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7 


BOOKS 


of interest to 
Painters, Decorators and 
Designers 


By F. N. Vanderwalker 


Interior Wall Decoration 
The Mixing of Colors and Paints 
Automobile Painting 
Estimates, Costs and Profits 
New Stencils and Their Use 

By F. H. Atkinson 


The Art of Sign Painting 
A Show at Sho’ Cards 
Scene Painting and Bulletin Art 


By C. J. and L. 8S. Strong 


Strong’s Bock of Designs 
The Art of Show Card Writing 


By F. Maire 
Modern Painter’s Cyclopedia 


By F. Delamotte 


The Signist’s Book of Alphabets 
- The Amateur Artist 


By Bart 
Chalk Talk and Crayon Presentation 


FREDERICK J. DRAKE & CO. 
PUBLISHERS 


*susKul- 94} UJIM UL POyYJOAA SEM 94N}YX9L Sy 
"2U0JGS USED YOUsIy YIM POWWIdL UIE 91}SP[q & JO BSF 2}eUUIO ANZA VY 


INTERIOR WALL 
DECORATION 


Practical Working Methods for Plain and 
Decorative Finishes, New and Standard 
Treatments 


The New Artistic and the Novelty Finishes; Color 
Stippling ; Glaze Colors, Tiffany Blending and Mot- 
tling ; Spatter Work; Plaster Staining; Sand Float; 
Sponge-Stipple; Spanish Palm Finish; Roman 
Travertine; Old English; Holland; French Caen 
Stone; Italian Plaster and Other Artistic Rough 
Textures ; Decorative Wall Panels 


Plain Painting Jobs and Calcimining Methods; 
Preparing the Surfaces; Hanging Wall Fabrics 


BY 


F. N. VANDERWALKER 


Graduate in Commercec3, Northwestern University 
Hditor, American Painter & Decorator 
AUtioOreoLe bhe Mixins of Colors and Paints”; 


“Estimates, Costs and Profits’; “New Stencils 
and Their Use’; “Automobile Painting” 


ILLUSTRATED 


CHICAGO 
FREDERICK J. DRAKE & CO. 


PUBLISHERS 


CopyRIGHT, 1924 
BY 


FREDERICK J. DRAKE & Co. 


PRINTED IN THE UNITED STATES OF AMERICA 


THE GETTY CENTER 
LIBRARY 


PREFACE 


There has been a genuine need for presentation of 
the general and inspirational phases of interior decora- 
tion. It is being well done. . 

The author believes it is now vitally Goporomt that 
specific information be recorded about definite working 
methods in everyday use by decorators. It is one thing 
to paint word pictures of beautiful interiors and en- 
thuse about the obvious need for more artistic handling 
of the interior decorations in our homes and public 
buildings, but it is quite another to provide essential 
information in such form as will teach those who are 
young in experience how actually to produce-the more 
artistic interiors so much desired by all. The love of 
the beautiful is inherently a part of all human natures. 
To gain self expression in an artistic manner is a slow: 
process, but much more rapid progress will be noted 
when more definite information in an easily understood 
form is available. 

The shelves of our book stores offer numerous excel- 
lent works of great interest on various phases of in- 
terior decoration—books on period furniture, rugs, 
drapes, accessories, architecture of interiors, grouping 
and arrangement of furnishings, color treatment and 
textures for wall decoration, but none with which the 
author has come in contact leaves the sphere of gener- 
alities to become specific in presenting definite informa- 
tion about methods, materials and tools essential to pro- 
duce artistic, decorative wall treatments. | 

Now it is always much safer and easier to write in 
terms of generalities. When one becomes specific it 

. 9 


10 PREFACE 


opens up opportunities without number for criticism, 
because what is true about one particular job may not 
be true about others. 

However, if the author has succeeded in this work 
in his plan to give all necessary detailed information 
about a few jobs, the student decorator will gain a 
foundation knowledge which will carry him on to 
ereative work on his own account. For that reason 
actual jobs have been described and illustrated, jobs 
done by decorators in the field today and for which 
customers have paid current prices. 

The information recorded in this book, it is hoped, 
will be of practical use to artists and craftsmen; to 
interior decorators who know the esthetic phase of 
their profession but need more of the practical; to 
practical decorators and house painters who wish to 
extend the scope of their work, and to all who know . 
the many beautiful decorative wall treatments, new 
and standard, but who lack information about methods, 
materials and tools needed to produce them. 

It is hoped, also, that this book will be of interest to 
householders who are building new homes, or econsid- 
ering the redecoration of their present homes, because 
so many of the decorative textures and color effects 
presented here are in the hands of professional decora- 
tors, but not printed and illustrated elsewhere. 

F. N. VANDERWALKER 


CONTENTS 


CHAPTER I PAGE 


The Appeal of Artistic Wall Treatments.—The Market for 
Simple, Colorful Textures.—The Market for Novelty and 
are OR ee ie i iu Che wis od aide e ob aes Sele eee e's 


CHAPTER II 


RELATION OF WALLS TO FURNISHINGS:—Walls Furnish a 
Background. — Correlating Walls, Floors, Trim and 
Ceiling.—Colors and Textures.—Color Schemes.......... 


CHAPTER III 


PROCEDURE IN DEcoRATING:—Cleaning Up the Place.—Drop 
Cloths.—Scaffold and Equipment.—Procedure for Coating- 
rpm i oye oy es vk ole 0 bate a wise ele B ucslle sie gels 


CHAPTER IV 


PREPARATION OF SuRFACES:—New Smooth Finish Plaster.— 
Old Smooth Finish Plaster.—New Rough Finish Plas- 
ter.—Old Rough Finish Plaster—New Wall Board 
Walls.—Old Wall Board Walls.—Old Painted Walls.— 
Concrete and Brick Walls—Washing Walls.—Removing 
Old Wall Paper.—Removing Old Calcimine.—Removing 
Gloss Oil Size-—Scaling Paint.—Pasting Back Fabrics.— 
Cleaning, Cutting Out Cracks and Holes in Plaster 
Walls.—Filling Cracks and Holes.—Putty Mixing and 
Use.—Filling Wall Board Joints.—Covering Surface 
Seratches and Fire Cracks.—Stains and Discolorations.. 


CHAPTER V 


WALL Sizinac MAtTrrIALs:—FPrepared Sizes.—Glue Size.— 
Varnish Size.—Soap, Glue and Oil Size.—Sugar Size.... 


CHAPTER VI 


PLAIN PAINTING AND FENAMELING:—Prepared Materials.— 
Mixing Proportions.—Correct Brushing Methods for Flat 
Paints and Enamels.—Stippling Paint.—Gloss and Flat 
Patches.—Starch Coating Walls.—Enameling on Plaster 
and Canvas.—Ground Coats.—Under Coats.—Flat, Semi- 
Flat and Gloss.—Tinting and Colored Enamels.......... 

il 


25 


55 


59 


81 


12 CONTENTS 


CHAPTER VII PAGE 


CALCIMINE METHODS AND MATERIALS:—Prepared Materials.— 
Calcimine Pigments, Binders and Colors.—Mixing Calci- 
mine.—Brushing Calcimine.—Calcimine on New Walls.— 
Calcimine on Old Walls.—Topping Over Calcimine....... Ly 


CHAPTER VIII 


RADIATOR PAINTING AND DeEcorATING:—Cleaning.—Plain 
Painting.—Bronzing.—Glazing, Mottling and Blending... .133 


CHAPTER IX 


STaintnc RovucH PLASTER WALLS:—Materials Needed.— 
Tools.—Methods: . .. 2... s:« die wie «wo udp een Cannan ee eae 141 


CHAPTER X 

TIFFANY GLAZING, MoTTLING AND BLENDING: —Effects 
Wanted.—_Materials Needed.—Tools Used.—Ground 
Coats.—Stipplinge.—Stencil Outline.—Glazing lLiquids.— 
Simple Two-Color Schemes.—Three-Color Glazing.— 
Graduated Blend.—The Finishing Touches.—When Glaze 
Color Runs.—When Glaze Color Sets Before Blending.— 
Suggested Color Schemes.—Silk Glazed Effects.......... 143 


CHAPTER XI 


Sanpd-FLoAT FintsH:—Where Used.—Texture Wanted.— 
Materials.——_Tools,—Methods.—- Color, Treatmentena. asus 193 


CHAPTER XII 


SPONGE-STIPPLE WALL FINISHES:—Effect Wanted.—Done 
with Caleimine.—Done with Oil Paint.—Tools.—Methods. 205 


CHAPTER XIII 


SPATTER WALL FIntsH: —Effect Wanted.—Materials.— 
Tools.—Methods | . x... se: ce o's im oo cree © Se aenne nena 219 


CHAPTER XIV 


BroNnZE VERNIS MARTIN AND METALLIC FINISHES:—Effect 
Wanted.—Materials.—Tools and Equipment.—Methods. .233 


CHAPTER XV 


Historic AND New RoveH Wart Trextures:—Decorative 
Wall Finishes in Historv.—Textone.—Craftex.—Decorite. 
—Compostip!|—Stippaleen.—Stuc-O-Tint.—Morene.—Flat 
Wall Paints.—Swedish Putty.—Italian Gesso.—Holland 
Plaster Wall Finish.—French Caen Stone.—Old English 
Plaster.—Early Colonial Plaster.—Spanish Palm Finish. 
—Wickham Palm Finish.—Roman Travertine.—Italian 
Plaster Finish.—Roman Tile Finish.—Combed Texture 
Finishes.—Sponge Stippled Roush Finish Textures.— 
Finger Rough Textures.—Materials.—Tools.—Methods. ..241 


CONTENTS 13 


CHAPTER XVI PAGE 
LACE STENCIL WALL FINISH:—Effect Wanted.—Materials.— 
Colors.—Tools.—Methods ......... RA ise tat ie ee ecco ao tn 


CHAPTER XVII 


SPRAY-GUN DECORATIVE FINISHES:—Materials.—Handling 
the Air Gun.—Effects Wanted.......... AS bP eee es Seek 


CHAPTER XVIII 


HANGING AND PAINTING WALL Fasrics:—Descriptions of 
Fabrics.—Preparing Surfaces.—Tools Needed.—Mixing 
the Paste—Placing the Fabric in Place.—Butted or 
Trimmed Edges.—Filling.—Painting.—Staining.—Repair- 
aM ATOR P sry ss. se pew Sco ee cc sade selene bes sOO0 


CHAPTER XIX 


DECORATIVE Watt Panrrts: — Moulding Shapes. — Tools 
Needed.—Fastening to Wall.—Corners and Joints.— 
Laying-Out.—Proportion and Balance—Decorative 


Treatment of Panel Centers......... Ht ee ee eee AO 
CHAPTER XX . 
LINING AND STRIPING:—Tools Needed.—Materials.—Meth- 
ods.—Striping and Stencil Wheels......................443 
ear a ee ie ca. s give 0 4 js s,0.0 4 G's eo vn ewes Cate oes 44d 


An Ornate Texture Done with Plastic Paint 
Manipulated with the Fingers and a Brush 


3 


LIST OF ILLUSTRATIONS 


FRONTISPIECE.—A Very Ornate Use of a Plastic Paint Trimmed 
with French Caen Stone. The Texture Was Worked 
In with the Fingers. 


PLATE PAGE 
1 Trestles, Ordinary Plank and Extension Plank........ 57 
Pee outing Outea, Piaster Hole and: Filling.............. 70 
Oo) Paint Strainers’ ......67.. er Om nvr rey ae, var tetris 93 
Peon ee Watliecberush, Metal-Bound...:.5.....sc0cesceees 95 
Peevestier-Mound Stucco Brush.........ccclc ce ccccccacs 95 
Gee ine. correct Way to Hold’ a Brush.....:........6.e- 98 
DAme mevier correct Way to Hold’ a Brush.............; 100 
Greely Olin the brush into the Paint..5.......00 60 66 ae% 101 
i the Stippline Brush and How It Is Used.....-%77... 104 
foweepray Cun Paintine Plain Surfaces. <i oo... ca. dae 105 
8 A Dutch Calcimine Brush and an Ordinary Calcimine 

TEEDIVETE. 5 ove ich AAR Cg ie eR ge Os) Pee ea 125 
9 Steel Wire Brushes for Radiator Cleaning’............ 134° 
10 New Radiator Partly Cleaned for Painting.......... 135 
1OAy Radiator with One Flat Coat of Paint onSii........ 136 
10B The Job Glazed and Wiped Out for Antique Finish. .137 
Wee aintine 2 Radiator with a Spray Gun.............. 139 


11 Tools Used for Tiffany Glazing, Mottling and Blending.147 
12 Spots of First Color and the Beginning of a Cheese- 
(Cloth Stipple for Tiffany Glazing, Mottling and 


Ree a a cis. Llane oice's 3b. sha aso cagovewiee Wey eles 155 
‘18 Glazing Color Blended Out with a Stippling Brush....157 
183A Glazing Color Stippled with a Sea-Wool Sponge...... Le 
18B Glazing Color Stippled with a Wad of Newspaper..... 161 
138C Glazing Color Stippled with a Wad of Burlap......... 163 
13D Glazing Color. Stippled with a Rubber Sponge......... 165 
13E Glazing Color Stippled with Cheese-Cloth............. 167 
14 The Wrist Movement for Producing a Circular Texture 
when Glazing, Mottling and Blending........6...2. 171 
15 Spots of Several Colors as Put On to Begin a Multi- 
“Sidllars Biker ate | iii sae Sav g oa 15 
Toeeelbertuli-Color Blend FPinished?.......0...0...0...5- 177 
1% Horizontal Stripes of Glazing Color as Put On for a 
eereeat REVEL MRED LTC Bete o's Siow k 2 > wets dlcle les, pale bate eee a ele 179 
ieee nesCraciated blend’ Winished.........c86.e800d 0680 181 
19 The Type of Diaper Stencil Used for an All-Over 
CDDSVSEGIy 2 Th re erbclp ae aa ae en 191 
POmneicand- i loat Binished’ Wall: .. osc... i dak wee dees nome 195 
21 +#£=xA Close-Up View of the Sand-Float Texture.......... 197 
22 Tools Used for Sand-Float Finishing”... .........c0005 199 


23. The Sand-Float Job Showing Two Different Textures. 203 
24 A Sponge-Stipple Finish Done with a Sea-Wool 


eae RE Ce AL tc wierd widterwiere wise alee cum mete, oe 207 
25 The Tools Used for Making Sponge-Stipple Wall 
Heer satta te MEME eae ee i OL cag ils utara) Sere Rome abe 209 


26 The Type of Sea-Wool Sponge Used for Wall Finish. .213 
27 The Vari-Tone Sponge Roller Used for Wall Finishes.214 


15 


16 


PLATE 


28 
29 
30 
31 
32 
33 


60 
61 


LIST OF ILLUSTRATIONS 


PAGE 
A Spatter Finish Produced with a Spray Gun. Alu- 
minum Bronze on Top of a Flat Black Ground... .221 


. A Spatter Finish with Several Colors Put On with a 


Spray Gurr 2. .:c ok wie eles 6 6 wiele ee canner ne 223 
A Spatter Finish in Four Colors Done by Hand with 
a Four-Inch Flat.Wall Brush sii22.-n eee 225 


The Same Spatter Finish as Is Shown in Plate 30, but 
with Only One Color on the Light-Colored Ground. .229 
The Method of Holding and Using the Brush with a 


Stick for Producing Spatter Finiehesss, eens 231 
Tools Used for Producing Rough Texture Wall Fin- 
ISHES 246 0 cc sie wot biwie ae sle'eince Gun cle « cuRieU geen tee nent nnn 267 


A General View of Holland Plaster Wall Texture. ...269 
A Close-Up View of the Texture of the Holland Plas- 


ter Shown -in. Plate 34....7 4 2 ae eee ya 
Close-Up View of French Caen Stone Finish.......... Sis 
A General View of French Caen Stone Finish Marked 
Off in. Blocks, (0.050 s:$ e\,s.« wo 5-5 oe 275 
Old English Plaster Finish as Reproduced with Plastic 
MS: 6 0) SP OR A 257 
Early Colonial Plaster Produced with Plastic Paint...279 
Spanish Palm Finish Done with Plastic Paint....... 283 
A Palm Finish Produced with Hand Brust... ee 285 
‘Close-Up View of Wickham Palm Finish............ 287 
A General View of Wickham Palm Finish Used for 
Panel Centers: ... .0. 5 «cue ance siete ale een teie enn 290 
Roman Travertine Finish Marked Off in Blocks...... 291 
Close-Up View of Roman Travertine Texture........205 
‘General View of Italian Plaster Texture.............. 295 
Close-Up View of Italian Plaster Textures... ee ee 297 
Roman Tile Finish Done with Plastic Paint.......... 299 
A Brush Texture Done in Plastic Paint Over a Brick 
Wall. A Sand-Float Finish Was Put On First......301 


A Close-Up View of the Texture Shown on Plate 49. .303 
A Brushed and Smoothed Texture Produced with Plas- 


tie’ Paint. so... 6. dv csvele Qe ack Skecae eee Rea 305 
A Very Rugged Texture Produced with Plastic Paint 
Manipulated with a Brush... 222, «2:55 307 
An Exceedingly Rough Texture Produced with a Plas- 
tic Paint on a Smooth Plaster Wall... ...6)) seo eeeee 311 
A Close-Up View of the Rough Texture Shown in 
Plate’..53. 4 iandvaek oe pee re ee 313 
A Vertical Line Rough Texture Produced with Plastic 
Paint and a Steel Wire Brush. .)) 551-3 eee OLD 


A Close-Up View of the Texture Shown on Plate 55. .317 
A Rough Vertical Texture Produced with Plastic Paint 
Using a. Whiskbroom. .. .«.. scsi .cie eee 319 
A Conventional Rough Stipple Texture Produced with 
Plastic Paint and an Ordinary Stippling Brush... .321 
A Rough Texture Representing the Gothic Period, 
Produced with Plastic Paint. Texture Worked In 
with -a Whiskbroom. .3 5a... «ss nage selene 323 
An Interesting Texture Produced by Stippling a Rough 
Coat of Plastic Paint with an Ordinary Sponge... .325 
A Novelty Texture Produced by, Making Finger Prints 
in a Heavy Coat of Plastic Paint................+:- bat 


PLATE 


62 
63 
63.4 
64 


67A 
67B 


TTA 


77B 
TIC 


77D 


78 
79 


LIST OF ILLUSTRATIONS 17 


PAGE 
An Exceptionally Beautiful Rough Texture Produced 
by Manipulating a Very Heavy Coat of Plastic 
Ree EL GA HIN Ser. fiw ls fe sale oe ce se cae alee ees 329 
A Lace-Curtain Stencil Stretched on q Wood Frame 
Bagel eine eoated with Shellac. i... 0... vee ev ceees 333 
A lLace-Curtain Stencil Transferred in a Moderately 
Dark Color on, a Light-Colored Ground Coat..:..... 335 
Showing the Method of Using a Stippling Brush or a 
Round Pound Brush for Transferring a Lace Stencil 


Me NPD JOT. soar. cs sce cies cen cas ve e’epeece ones 337 
Another Lace-Curtain Stencil Design Suitable for Wall 
ent Me etch As dk bck bc ke cok dems oe So bie os . 809 
Large lLace-Curtain Stencils May Be Rolled While 
emer Ceomoerrec to the Walls ...... 5 ccc cceceseass 341 
The DeVilbiss Spray Gun Showing Round and Fan- 
Siapemeoprays of Material. ...... 0.0. ccc cae we scves 346 
The Paasche Air Brush N. F. 8 (Left). The Willard 
Weeiteacn ir rush A=Lo. oe. fi ce ewe ee acaes 347 
The Binks Spray Gun No. 105 (Left). The Spray 
‘Engineering Company Gun No. P-6.........e0004- 049 
Mmecnmictosworay Gtin Outfit. 2.62.5 occa dlecee veces 351 
A Beautiful Decorative Finish Produced with a Spray 
“OPM Sawa awa CRAP Ue oe te ee eee 357 
A Novelty Wall Finish ‘Produced with Lacquer 
frameset On with ao Spray Gun. .......es. scenes 359 
An Unusually Beautiful Novelty Texture Suitable for 
Wall Panels, Put On with a Spray Gun............ 363 
An Interesting Wall Finish Produced with a Spray 
eee HO PAS ICMETAITIL. 0c cee ewe cs ds siwnt cease levee 365 
A Rough Texture Put On with a Spray Gun, Using 
ieee NY Se Ts os ci se eles ca cele dewews ccc 367 
A Very Fine-Grained Stipple Texture, Put On with a 
Beeline RAN gto TGh. e's, cvs oo, woo s8e oaedicicccled ewe geoue 369 
‘An Unusual Rough Texture Done in Brown, Green 
and Gold. The Plastic Paint Was Sprayed On..... 371 
A Rather Massive and Rugged Texture Produced with 
Piasticsbaint Put, On with a Spray Gun............ ole 


A Reproduction of the Stucco Finish Commonly Done 
with Portland Cement. Produced with Thick Flat 


Waieraint,fut.On with a Spray Gun... ... 6c. ee see 375 
‘A Rough Texture with an Interesting Pattern Made 
Deeeoravings on Plat WallPaint....5.4 65... cb. ee... 379 


An Interesting Fabric Texture Produced by Spraying 
Color onto a Smooth Surface and Blending It Out 


MM ALLA os oy sce oc a oy aly oe we os oe Oe 381 
A Finish Similar to 77A, Except That the Color Was 
Blended One Way, Instead of Both Ways.......... 383 


A Spray Gun Finish Produced with Plastic Paint. A 
Rather Conventional Texture Useful for Panel Cen- 
ters and Wall Surfaces Below Chair Rails and Plate 


CSET 5 on le Ee CRS plata pet eg a 385 
A Finish Similar to That Shown on Plate 77C, but 

eee egmET NOP OGKLUPC sees es 6 ei cnc Ce need ccs SP OSG 
The Tools Needed for Hanging Wall Fabrics.......... 393 
Showing How a Plumb-Bob and Line Are Used to 

Mark a Vertical Line on the Wall..... SAE nannies 395 


87A 


100 
101 
102 
103 


104 
105 


106 


LIST OF ILLUSTRATIONS 


PAGE 

The Straightedge and How It Is Used......scsseceese-s 396 

Hanging a Strip of Canvas... ...<s <0 sneer 397 
Trimming Lapped Edges of Fabric. Cutting Through 

the Lapped Edges to Make a Perfect Joint........ 401 
Showing How to Cut Through Old Fabric on a Ceiling 

or a Wall to Paste Back Loose Areas......s......- 404. 
The Various Styles of Mouldings Used for Construct- 
ing’ Wall Panels. ....s. 0: sens eee rare shee 

Decorative Corners for Panel Mouldings...... Shae ahacee 410 


(a) Colonial Cornice and Picture Moulding. (hb) 
‘Combination Cove and Picture Moulding. (c) Plate 


Rail. (d) Picture Moulding. (e) Chair Rail...... 411 
The Tools Used for Cutting and Fitting Panel Mould- 
INOS sc ccc cwp'e se pas ure ale wie ops o/h eetee etn nns ae 412 


A Spray Gun Being Used to Decorate Paneled Walls.413 
The Paneled Walls of a Bedroom Showing Electric 


Light Fixture Relocated Between Panels............ 415 
An Attractive Layout of Panel Mouldings in a Bed- 
TOOT 2 ccc veces ces 0 ate els © a sin aetee = tegnnCn= 417 


Dining Room Walls Paneled Off with Mouldings. The 
(Panel Centers Filled In With Wallpaper............421 


A Suggested Layout. for Wall Panels... 2s essa aa 423 

Showing the Manner in Which Wall Panels "May Be 
Artistically Grouped ..2.... ss). ae 424 

A Novelty Layout of Wall Panels in a Black and 
White Room 2... 0... <c 5 «0s ane coeiiee ieieee nite tea anna 425 


‘A Simple but Effective Wall Panel Layout Below a 
(Chair Rail and Having Pictorial Wallpaper Above 
the Panel .o.5 5 esas aida a 00 9 eee eae ee 426 

A Living Room Paneled in Conventional Style........ 427 

Another Arrangement of ‘Panels on Living Room Walls. 428 

An Interesting Layout of Wall Panels Produced with 
Mouldings and Wallpaper Centers in a Living Room.429 

A Layout for the Handling of Wall Panels in a Sec- 
ond-Story Bedroom. 4. <2. cuss ee seeieeene nan 430 

A Very Modern Use of Mouldings. "The Mouldings 
Were Finished in a Very Dark Color and Were Lo- 
cated Just Below the Cornice, Above the Chair Rail 
and Allowed to Follow Around the Door Casings...431 

Indicating Some Correct and Incorrect Layouts for 


Panel Mouldings .... 22.0.5. une pee ene 432 
The Miter Box Being Used to Miter the Corner of a 
Moulding . 05.6 6.1.6 6 Gere oo cio ee eee eee 434 
Classic Stencil Designs Which May Be Used to Form 
Wall- Panels .....%.. 50 ole veo «Seen een 437 
Classic and Conventionalized Flower Designs Suitable 
for Wall Panels, ..:..2i% ss. eee oe .. 438 


Stencil Designs for Use in Forming Wall Panels....440 

Common Names Used to Designate Various Wall 
Areas for the Purpose of Decorationy...0)s0..ae ee 441 

(a) The Correct Way to Hold an Angle Lining Brush. 
(b) The Angle Liner and Straightedge in Position to 
Runa Line. (c) Fresco Angle Liners. (d) -A Gild- 
ing Wheel. (e) A Striping and Stencil Wheel. (f) 
The Character of Stripes, Stencil and the Wheels 
Used to Make Them with a Striping Wheel........444 


INTERIOR WALL DECORATION 


CHAPTER I 


THE APPEAL OF ARTISTIC WALL TREATMENT 


The time and thought given to a study of wall 
treatments with the idea of securing color, pattern 
and texture exactly suited to the general decoration 
of rooms is well repaid with a greater measure of 
harmony. The walls and ceiling of a room are but 
the background against which the furnishings and 
accessories are displayed. When we keep in mind 
this fact there is less temptation to feature the walls 
too much in themselves by making them obtrusive in 
color, texture or design. 

There is an interesting comparison between the 
walls and ceiling of a room and the backgrounds of 
artists’ oil paintings which are usually made up of a 
variation in colors and texture. Mottling and blend- 
ing, shadow and light effects go to make up the ele- 
ments of interest in such backgrounds which simply 
serve as a foil for the principal object or group fea- 
tured by the picture. Again, we have the backgrounds 
of nature which give us precedent for comparison. 
The fields, woods, mountains, seas and even the sky 
with its cloud formations all constitute backgrounds 
for principal or nearby objects and groups which form 


a picture for the eye. 
19 


20 INTERIOR WALL DECORATION 


In the making of backgrounds for the furnishing 
of room interiors, which are correlated to the deco- 
rative scheme as a whole and which sustain interest, 
the decorator has within his control the elements of 
color, texture and pattern or design. The other ele- 
ment which is not so much within his control and 
which influences the artistic appearance of decorated 
walls is that caused by the play of ight and shadow 
in the room—the art of chiaroscuro. 

One designing a color scheme, which includes the 
wall and ceiling decorations, may make a choice be- 
tween the use of smooth surfaces and rough, between 
slightly rough sand finishes, moderately rough spe- 
cial textures and exceedingly rugged textures; one 
may choose between the use of opaque colors and trans- 
parent colors, between gloss surfaces and flat surfaces, 
between fabrics having fine, delicate weaves. and those 
having coarse weaves; then, there is also a choice to 
be made as between simple, even-toned designs and 
colors in wall papers and those which are exceedingly 
strong in contrast of design and color. 

In making selections from among these elements 
many considerations are involved. Some of these are 
the character of architecture, the amount and char- 
acter of the light, the size of the rooms, the personal 
preferences of those who are to use the rooms and 
the general purposes for which the rooms are intended. 

On smooth plaster or wall board walls one of the 
easiest ways to produce the variations in color tone 
and texture is by the use of Tiffany glazing, mottling 
and blending. And it is, of course, possible to convert 
smooth wall surfaces, by decorating, into moderately 
or exceedingly rough textures by the use of one of 
the many working methods described in the pages to 
follow. 

The rough textured wall surfaces have gained tre- 
mendously in popularity of late because of their real 


APPEAL OF ARTISTIC WALL TREATMENT 21 


artistic merit. By the use of these treatments it is 
possible to produce wall decorations which possess 
just the right degree of color and texture or design 
to fit in perfectly with the whole decorative scheme 
for a room. Both the strength and character of color 
and textures are completely within the control of the 
decorator and these finishes have taken a permanent 
place in decoration. The rough textured finishes such 
as sand-float, caen stone, Holland, Old English plaster, 
Italian plaster, Roman tile, Spanish palm finish and 
others of the antique type are exceedingly appropriate, | 
not alone for Spanish mission architecture and Italian 
villa types, but also for a very large number of homes 
built after modern American architectural ideas. The 
many homes built after the Frank Lloyd Wright, Wal- 
ter Burley Griffin, Charles Barr Williams and other 
similar established types of architecture, as well as 
the very numerous interpretations of these distinctive 
types by other architects, are especially beautiful when 
the interiors are decorated with these rough textured 
wall finishes and the mottled blended effects. Such 
types of architecture give an impression of great 
strength and ruggedness with their horizontal planes 
predominating. The rough wall treatments, particu- 
larly, harmonize with this impression. 

One of the peculiar advantages of the mottled and 
blended surfaces and, particularly of the rough tex- 
tured treatments, is that they are enriched and mel- 
lowed by age. Even the accumulation of dust seems 
to add to their artistic appearance. As a rule, the 
smooth surfaces having mottled and blended effects 
are coated with starch. This protects them and makes 
it possible to wash them clean by removing the starch 
coating. Mottling and blending on the rough tex- 
tures, being done with transparent water colors, may 
readily be washed off and renewed. 

Altogether the great beauty and appropriateness of 


22 INTERIOR WALL DECORATION 


the interesting rough wall textures and the mottled, 
blended surfaces constitute modes of decoration which 
ean be skilifully done without exceptional effort. Such 
treatments constitute a real advance in the decoration 
of modern interiors. 

The Market for Simple, Colorful Textures.—Since 
these special colorful effects and textures may be pro- 
duced in very simple, subdued effects as well as strong, 
colorful and dominant treatments, it is essential that 
careful attention be given to a selection of appropriate 
decoration for various types of rooms. 

It is obvious that the simple, subdued color schemes 
and textures are most appropriate for homes, schools, 
libraries, art shops, offices, neighborhood restaurants 
and tea rooms, clubs, banks, furniture stores and show 
rooms. 

Theaters and other amusement places can be appro- 
priately given a treatment which is a bit more orna- 
mental. In fact, the decoration of such buildings 
ranges all the way from a quiet, restrained handling 
to the elaborate circus wagon type, using the extreme 
in the display of ornaments and a lavish use of colors. 

The Market for Novelty and Bizarre Effects——In such 
public places as witness the gayety of night life— 
theaters, cafes, restaurants, amusement park build- 
ings, exhibition booths and convention rooms; shops 
and stores like those selling millinery, candy, flowers 
and other retail establishments, as well as many rooms 
which are devoted to serving the public, like beauty 
parlors, may appropriately be given more colorful ef- 
fects and decorated with stronger texture and design. 
In other words, any room in business establishments 
where new and novel sales appeal is sought may well 
be decorated in stronger color, texture.or design. In 
all cases, however, the decorations should be kept 
well within the bounds of good taste from the stand- 
point of harmony in color, texture and design to avoid 


APPEAL OF ARTISTIC WALL TREATMENT 23 


an impression negative to that desired. The latitude 
within which a decorator must work is limited simply 
by the moods of human nature. Rooms should be 
decorated so they will promote such human desires 
as those for a quiet, subdued atmosphere where study 
and relaxation may be pursued, a simple, dignified and 
businesslike atmosphere or such impressions as are 
desirable about places of amusement where the spirit 
of gaiety should predominate. 


ad 


CHAPTER II 
RELATION OF WALLS TO FURNISHINGS 


Probably the first idea of importance when one starts 
out to construct a color scheme for any room is that 
of making a plan which will consider the room com- 
pletely furnished as a whole. It is quite impossible 
to intelligently select colors for walls, wood trim, floors 
and ceilings without knowing the kind, character and 
color of the furniture, drapes and accessories in gen- 
eral, which are to be used as a part of the room. 
And yet this is done every day; more rooms are deco- 
rated without reference to the furnishings than after 
a plan which includes everything. As people in the 
mass become better educated in the artistic use of 
color, texture and design, this arbitrary selection of 
decoration for wall surfaces of rooms will diminish. 

There is under way today a great renaissance of 
color, a revival of interest in color which is giving 
even greater impetus to the painting and decorating 
industries. 

Intense interest is being aroused in the great masses 
of people in better and more extensive use of colors. 
Decorators, painters, textile workers and all who use 
color, are confronted with the necessity for learning 
more about the tasteful and harmonious use of colors. 
A greater knowledge of color pigments, liquids, theory 
of color and principles of color law is imperative for 

25 


26 INTERIOR WALL DECORATION 


those who would keep abreast of the times. 

Having a plan for a color scheme makes one con- 
sider the room as a whole and points to the wisdom 
of correlating colors, textures and designs; it makes 
one construct the harmony of a room as an author 
constructs his story and as an artist plans his com- 
position on canvas or in music. 

The lack of a plan and organized thought in select- 
ing color schemes is largely responsible for most fail- 
ures to acquire harmony. 

A lecturer who talks and talks aimlessly, who just 
rambles hither and yon, soon exhausts the patience and 
interest of his audience. A story in fiction or a drama 
without plot, direction, progression and climax is a 
flat failure. There is little or no difference between 
these and attempted decoration of a room to gain 
harmony of color in architecture and furnishings. We 
accept these flat failures because we have grown ac- 
customed to them, and we live with them for years, 
all the while being influenced unfavorably in mental- 
ity and physically by them, unknowingly, as a rule. 

Corelating Walls, Floors, Trim and Ceiling —When 
a thoughtful plan has been made all furnishings and 
colors, textures and designs going into a room are 
selected with reference to the whole room as a unit. 
Of course, the question does arise with most people 
when they buy furniture, drapes or other furnishings, 
as to ‘‘how it will go with this or that,’’ but even then 
there is usually no plan for the whole room; anxiety 
is present only lest one piece of furnishings should 
clash with another. How all correlate and fit together 
doesn’t concern one as often as it should. 

There ought to be less promiscuous buying of wall- 
papers, drapes, cretonne, cushions, scarfs, pictures, 
rugs, pottery and vases. When this is accomplished 
much more success will be gained in constructing beau- 
tiful, restful and harmonious interiors. The discords 


RELATION OF WALLS TO FURNISHINGS 27 


will be eliminated and disorder will change to artistic 
arrangement. 

The beauty of art is not a thing apart from all else. 
It is part of everyday life of people and is expressed 
constantly in the construction of private and puble 
buildings. 

Real beauty, art, comes Ae the satisfaction one 
feels when the eye, the intellect and the affections 
are satisfied. 

Ornamentation, which is decoration, should add to 
the beauty of a structure as a whole. It is not neces- 
sary to the utility of a structure or article of mer- 
chandise, and it is bad decoration if it interferes with 
utility. 

The result of good decoration should be a color 
effect as a whole,—not colors. 

In color management, selecting colors which go well 
together is largely a matter of mathematically follow- 
ing rules; choosing colors which go well together is 
simply a matter of knowing colors and color principles. 

The big thing in creating color schemes which are 
not only in harmony but which possess the quality of 
interest and have the power to sustain that interest 
indefinitely, is organization. 

The difficult task is that of making a plan for color 
treatment of a room, gaining harmony by contrast of 
values, hues and intensities, harmony in balance, pro- 
portion and rhythm. That calls for judicious selection 
of bright and dull, warm and cool, advaneing and 
receding colors, gloss and flat, large and small areas, 
location, repetition and arrangement of colors as well 
as appropriate wall textures. 

The perfect color scheme sustains interest, it is liv- 
able and grows on one. It possesses neither great. 
variety nor great likeness. 

Too much variety causes restlessness; discord and 
chaos are extreme degrees of variety in contrasts of 


28 INTERIOR WALL DECORATION 


values, hues or intensities. Too much variety in musie 
or anything else is chaotic. 

Too much of sameness, likeness and uniformity, on 
the other hand, dispels interest and is the extreme in 
monotony. | 

Climaxes and Centers of Interest.—Just as a drama 
and a story require a climax to make an entertaining, 
harmonious unit which sustains interest, so also must 
perfect and practical color schemes have climaxes. 

Centers of interest which constitute climaxes are 
essential as elements around which the color schemes 

and all decoration can be constructed. 

A climax in a room may be a brilliant, intense col- 
ored vase, a bit of white statuary or a bouquet of 
flowers arranged in a vase and grouped on a table so 
the light will reflect them in a mirror. The climax 
may be a fine book in art binding of pure, intense color 
arranged on a very light colored or white scarf on a 
table; it may be a rather large picture the colors of 
which are pure and intense and contrasting with great 
vigor. Window drapes of bright color greyed some- 
what are too often the climax of a room. 

As a rule the climax color of a room is very bright, 
but should be used in comparatively small area. 

If pure, intense colors are used in more than one 
center of interest, unless the room is large, anti-cli- 
maxes will be present and the effectiveness of the dec- 
orative plan will be injured. Then the room will not 
be so restful and inviting. Stimulation for the eye 
nerves will come from too many sources in competition 
with each other for attention; those who live in the 
room become weary and uneasy without knowing the 
cause. 

To be sure of balance in a color scheme, the rule 
to follow is that of having a small area of pure, in- 
tensely brilliant color balance a large area of dull, 
greyed and subdued color. 


RELATION OF WALLS TO FURNISHINGS 29 


The principle of constructing a color scheme around 
a climax doesn’t mean that all the colors, except those 
in the climax group, must be very dull greys or very 
low contrasts of value in other colors. 

Moderate contrasts of values in self-tints and shades 
of the keynote color are permissible; moderate con- 
trasts of values and of greyed hues of related colors 
may be used to good effect, too. And even comple- 
mentary colors, considerably greyed or neutralized by 
the addition of white or complementary colors, can 
be used to add cheer and avoid a too sombre atmos- 
phere in the color scheme before the climax color is 
introduced. | 

These related colors and subdued complementary 
colors may well occur in the rugs, drapes, pictures, 
pottery and odd furnishings. 

Appropriateness of Colors and Textures—The eternal 
fitness of things has most forceful illustration in the 
selection of color schemes for various rooms. 

In a ladies’ bedroom we may fittingly employ the 
light, delicate and airy tints,—greys, grey-greens, pale 
pink and silver, the delicate yellows and pale blues; 
but in the trophy room of a men’s club such delicate 
harmony would be ridiculous. There more forceful, 
_ strong coloring, though in harmony, is needed. And 
there the use of quietly insistent complementary col- 
ors and stronger contrasts of values, hues and inten- 
sities are called for, as well as more rugged wall tex- 
tures. 

A millinery shop calls for a different handling of 
delicate colors in harmony. <A novel and more color- 
ful treatment and arrangements of colors to display 
ereater strength of contrasts than in a lady’s bedroom 
are needed. 

The brilliant display of gold, vermilion, ivory and 
intense blues of the circus wagon finds no appropriate 
place in the decoration of home interiors. Although 


30 INTERIOR WALL DECORATION 


the decoration of a business display room for powerful 
machinery ought by all means to make use of fairly 
intense complementary colors with strength of contrast 
of values. 

Colors and wall finish textures must fit the pur- 
pose for which a room is used quite as much as is 
true in the case of merchandise. A strong and power- 
ful piece of farm machinery is appropriately colored 
in intense reds and greens; it would look ridiculous 
painted in the baby blue or pink of a child’s bed or 
high chair. 

Balancing a Color Scheme.—On certain occasions a 
room is purposely decorated to give a warm or a cold 
atmosphere, as when a cold north bedroom is deco- 
rated warmly, or an excessively hot south room is 
given a cool atmosphere by decorative treatment. Also 
some rooms, like a dance hall, for example, are planned 
to have a very active, lively color scheme, while a 
library or school room ealls for quiet, subdued, restful 
treatment. 

The average room, however, needs a decorative plan 
which is well balanced between warm and cold tones, 
active and passive design. Neither too warm and stim- 
ulating, too cool and chilly, nor so neutral and drab 
as to be cheerless and uninteresting. 

This balance of harmony and atmosphere is gained 
by judicious handling of pattern, texture or design 
on walls; skill in the use of bright, intense colors, 
warm and cool colors, greyed and neutral tints and 
shades, and, more specifically, by skill in creating con- 
trasts of value (neither too high nor too low), con- 
trasts of color hue and contrasts of color intensity. 

Great care should be taken to avoid having extreme 
contrasts by all three methods—value, hue and inten- 
sity—at the same time. Self-tones and related colors 
may be fairly strong in contrast of value if they are 


RELATION OF WALLS TO FURNISHINGS 31 


greyed or neutralized without proving too stimulating 
to the eye. 

Comfort and a sense of well-being in humans re- 
sults from balance. How we react to temperature and 
to light and dark indicates comfort, balance, or lack 
of them. Color may put us at ease in comfort or throw 
a human completely off balance, if there be lack of 
harmony or too large an area of strong, brilliant color. 
Such color tires the eye, as do also weak, washed-out 
colors. The sense of balance seems to come from near 
the greys in the color scale. 

Upon the area of strong color the balance of a color 
scheme also depends. We like strong colors, but in 
small amounts. A comparatively small spot of bright 
red, yellow or blue will balance a great area of grey 
and other dull, harmonizing color tints and shades. 
So bright colors only excite and fatigue the eye when 
used in large areas. 

And, of course, the general principle requiring that 
a gradation of color from floor to ceiling should exist 
should not be lost sight of. Walls ought to be a lighter 
tone than the floor; ceiling ought to be lighter tone 
than the wall. This is a contrast of values; the con- 
trast should not be great; just a pleasing gradation 
from the bottom up as in nature with its black or 
dark colored earth to its light blue sky. 

Dark colors on top or in the middle just naturally 
throw a color scheme out of balance. Dark colors ap- 
pear heavy, as do also bright colors in certain combina- 
tions with light tints, and the laws of gravity place 
weight at the bottom. That is, then, the agreeable, 
natural and pleasing arrangement. 

Color Schemes for the Living Room.—The living room, 
as the name suggests, has ever been the place where 
most of the family life is spent, where friends and visi- 
tors are entertained. Here should be created an at- 


32 INTERIOR WALL DECORATION 


mosphere of comfort, relaxation and quiet refinement. 

Extraordinary or novel effects in this room might 
entertain or amuse the guests, but they are sure to 
become tiresome to the family. Such decoration 
doesn’t sustain interest well and is likely to be too 
stimulating to associate with seven days in the week. 
A conventional and conservative expression of good 
taste in decoration is more fitting in the living room. 

The color note may be any of the greyed or neutral 
tints and shades. Tans, moderately light browns, 
warm greys, old blue, grey-green and neutral blue- 
green, dull russet, buff, olive or sage green, warm drab 
and Bedford stone are some of the colors which are 
suitable. 

The selection of a color scheme for a room where 
there is one invariable element, that is, where the 
furniture or rug has already been selected must nec- 
essarily proceed from the color of such furniture or 
rugs. In other words, the keynote color of the room 
must be that of the rug or furniture—related to or 
complementary to them. 

This keynote color may, of course, contrast with the 
rug or furniture in color hue and in value, using lighter 
tints and darker shades. The character of the room 
coloring may be made either warm or cool in general 
atmosphere, even when starting from a fixed element 
of color, like furniture and rugs, which are apt to be 
of warm tones. Likewise, the color scheme can be 
either receding or advancing in character, depending 
upon the size and shape of the room. 

For the purpose of illustration, let us assume that 
we have a new living room without color, except the 
natural new colors of walls, wood trim and floor. 

The first consideration is the size and shape of the 
room. Is it too small and does it require giving ap- 
parently increased size? Is it a large room in which 
a wide range of choice in colors, textures and designs 


RELATION OF WALLS TO FURNISHINGS 33 


is offered? Are the celings quite high, affording an 
opportunity to use fairly dark colors, or are they low, 
requiring very light colors? Is the room quite or- 
nate, architecturally, or is it plain and simple? Is 
there a large amount of wood trim or is it of a type 
which has no door or window casings? Are the walls 
occupied largely with built-in furniture, resulting in 
comparatively small wall area? Are the wall surfaces 
continuous or are they broken up by trim, by wood 
paneling or by paneling with moldings? 

When you have made a study of the room and have 
a clear idea of its character in answer to these ques- 
tions, the next step in making a color scheme plan is 
to decide on a keynote color. Is the general color at- 
mosphere to be very light, moderately light or quite 
dark? Is the color feeling of the room to be warm, 
cool or simply neutral? What are the color prefer- 
ences of the people who are to occupy the room? 
These should be considered but should not be allowed 
to dominate the color scheme unless they TRG with 
the other elements involved. 

What is the character of the light—is the room 
flooded with sunlight, is it moderately lght, or is 
artificial light depended upon much of the time? 

Until one is experienced in the selection of color 
schemes, the safest method to pursue as the first step 
is to choose one keynote color and then follow the prin- 
ciple of harmony by using self-tones—lghter tints and 
darker shades of that color for the surfaces of largest 
area, which are the walls, the floor and ceiling. Then 
to this related colors ean be added in a limited way to 
gain additional harmony by the principle of analogy 
or as one becomes more skilled complementary colors 
which are in perfect contrast with the keynote color 
may be used in a greyed tone and in small areas. 

The accomplishment sought in working with these 
principles of color harmony should be to construct a 


34 INTERIOR WALL DECORATION 


color scheme which is rather subdued, low in tone and 
quietly harmonious. This refers not alone to the col- 
ors and textures for walls, floor, ceilings and trim, but 
also to the selection of furniture, rugs, pictures and 
usually the window drapes. 

Special care should be exercised to avoid the use of 
large and fairly large areas of white, such as glaringly ~ 
white lace curtains, dresser scarfs and table covers. 
The use of rather large white mats on pictures is espe- 
cially a glaring weakness of many interior eolor 
schemes, because they give the effect of a hole in the 
wall. There is little reason to have a mat on many 
pictures, but when a mat is used it should be very 
subdued in color, should be a self-tone with the domi- 
nating color of the picture and frame, or it should be 
covered with a fabric which will tone in with the 
picture, the frame and the wall. The general color 
scheme of a room may be good, and yet, if a compara- 
tively large area of white in lace curtains, picture 
mats, scarfs or table covers are present they are a 
discord in the harmony because they attract too much 
attention to themselves. These furnishings should be 
of such a color hue as will harmonize with the general 
keynote color of the room as a soft tint or shade, as 
a related color, or as a very much greyed complemen- 
tary color. 

The whole color atmosphere of a room should be so 
quietly harmonious up to this point that when a 
stranger steps into the room for the first time no sin- 
gle element will draw attention to itself immediately. 
The general atmosphere should be comparable to a 
chord of music in its harmony. In other words, your 
contrasts of color values—light tints and dark shades 
of the key color—related colors and complementary 
colors in greyed small areas should constitute one har- 
monious whole. 

Having accomplished this much, there remains one 


RELATION OF WALLS TO FURNISHINGS 35 


more element to direct in completing the plan for the 
color scheme. This is to introduce a climax around 
which the whole harmony revolves. This climax may 
be composed of a small area of bright color or com- 
plementary colors, and it may take one of several 
forms. 

The climax may be a brightly colored vase full of 
flowers on a mantel, on a bookease or on a table in a 
living room; it may be a brilliant vase and flowers on 
a small table before a mirror in a reception hall in 
which the mirror, table and the vase are grouped to 
form a pleasing symphony of color and form. 

This climax or feature of special interest in a room 
may be a bit of statuary in white or bright colors, it 
may be a rich scarf or table cover, or it may be a pic- 
ture of brilliant hue of one or more colors. In other: 
words, the charm of a room results largely from direct- 
ing the attention of one entering the room to one 
tastefully constructed group or element in that room. 

The same principle applies to the bedroom with its 
beds and beautiful drapes featured, or with a vase of 
flowers displayed on a dresser before a mirror, or with 
its beautiful dominant picture. 

The climax of the dining room is the completely 
decorated and furnished table with the meal spread 
ready for guests; in a library the climax feature may 
be the brightly colored book bindings or it may be a 
beautiful picture in bright colors, and if neither of 
these it may be a bright bit of statuary or vase on the 
desk. 

At times the climax or center of interest is the win- 
dow drapes, but it is much better to subdue these in 
favor of some other feature of interest in the room. 
There is often good reason for using brightly colored 
drapes, and this can still be done if the colors are sub- 
dued or of a greyed character; they may be bright and 
yet be subdued with overdrapes so as to avoid compe- 


36 INTERIOR WALL DECORATION 


tition for attention with the real climax of the room. 

The Dining Room.—The atmosphere which is sought 
in decorating a dining-room is one which will radiate 
an impression of good cheer. What we should seek 
to accomplish is not alone an atmosphere of good 
cheer but, also, to impart a sense of comfort, warmth 
and relaxation. 

Probably the color harmony principle of using re- 
lated colors is most commonly useful and the color 
should be in the medium dark values, rather than ex- 
tremely light or very dark. Intensely stimulating col- 
ors for the general tone ought not to be used. 

If a color scheme selected using light colors tends to 
appear a bit sombre and too dull the atmosphere of the 
room can easily be given a cheerful note by the use of 
a small area of complementary color in the pictures, 
In vases and window drapes. 

After all, the decoration of a dining-room should pro- 
duce a quiet, rather low toned harmony as between 
the walls, ceiling, wood-trim, furniture and drapes. 
The central point of interest, the climax, in a dining- 
room setting is composed of dishes and the table deco- 
rations. There should be nothing about the walls, 
drapes or furnishings of the room which is so bright 
and advancing as to compete for attention with the 
dishes, decorations and food upon the table. 

For specific suggestions these colors might be con- 
sidered: Delft blue, old blue, dull grayed orange or 
russet, sage green, gray-green, dark tans, leather brown 
and dark French gray. 

Kitchen Colors.—In the past few years there has been 
what might be called a great reformation in the fur- 
nishing and decorating of kitchens. It is quite likely 
that the advertising of kitchen furniture, utensils and 
equipment is largely responsible for this, because this 
vast amount of advertising has pictured in the maga- 


RELATION OF WALLS TO FURNISHINGS 37 


zines how beautiful and inviting the atmosphere of 
a kitchen can be. 

In this day we like to have a kitchen appear just 
as bright, spick and span as it really is. This appear- 
ance can be gained by the handling of colors for the 
kitchen. In the first place smooth walls are prefer- 
able to rough textures. Gloss or semi-gloss is pre- 
ferred to a flat lustreless surface. There is a prac- 
tical reason back of this also. In a kitchen there is 
a daily releasing of steam laden with more or less 
grease from cooking; also there is bound to be more 
or less smoke. Accumulations of smoke and grease 
occur on the walls and ceiling. If the walls have a 
gloss and are smooth they can readily be washed, 
whereas rough walls accumulate dirt and hold it. Flat 
walls spot easily and cannot be washed, at least not 
more than once. 

Dark colors do not give the right appearance in 
kitchens. The color should be light, bright and cheer- 
ful as well as shiny. A duplication of the semi-gloss 
evident upon kitchen cabinets, stoves and plumbing 
fixtures may well be continued on the walls and ceiling. 

White, ivory or very light gray, green or blue enam- 
eled woodwork is also a necessary part of a color 
plan. Then, when very light, airy curtain material 
is used and you have the brightness of a growing plant 
or two about the windows an ideal setting has been 
gained with the impression of brightness and cleanli- 
ness. 

What is needed to complete the balance in such color 
schemes is a note of bright color in small area. Bright 
but greyed reds, blues, greens, oranges or yellows may 
be introduced in some form. Bright but small spots 
of color in plain colored curtains give the added bal- 
ance. A brightly colored shade on the electrie light 
may give the bright color note needed. It may be 


38 INTERIOR WALL DECORATION 


that a brightly colored linoleum will add all the con- 
trast which the room calls for. The blues and greens 
are especially welcome in the kitchen because of their 
cool tones. 

Some of the color schemes which will give a novel 
character to a kitchen, used principally for the cur- 
tains, are these: Blue, white and yellow-orange; yel- 
lowish-green with black and cream or ivory. 

Inbrary and Private Offices—If there is any room 
in which the color treatment and furnishings should 
not call attention to themselves or clamor for notice 
it is in a library, a study or a private office in homes 
and business places. In such rooms the occupants 
want agreeable surroundings but they do not want 
active eye stimulations which will divert from the 
work in hand, whether it be study or the transaction 
of business. What is wanted is an atmosphere of 
comfort which is conducive to quiet and restfulness. 

The color schemes for such rooms may be built up 
from medium dark greyed colors and the less intense 
tones. Receding rather than advancing colors are de- 
sirable and, above all, simplicity in color combination 
~ as well as pattern, texture and design are to be gained. 
ven the floor coverings, furniture and window drapes 
should be subdued and should harmonize in low values 
rather than to contrast greatly in value. If there are 
any art objects or accessories used they may be in 
bronze or dull polychrome. 

Such a color scheme is likely to become a bit sombre 
and needs a note of contrasting color. This may be 
supplied by a central point of interest, or climax, 
which is in the form of a not too large, brightly col- 
ored picture or a vase containing flowers in well se- 
lected colors. If there are any decorative designs on 
the walls such as a frieze or stencil band it should be 
in simple, classic design a self-tone or colors related 
to the wall color. 


RELATION OF WALLS TO FURNISHINGS 39 


Bedroom Colors——The atmosphere to be created by 
color schemes for sleeping rooms should be one of 
restfulness and relaxation. Light colors are much to 
be preferred to dark shades. Generally speaking, the 
colors should be warm unless the room happens to be 
of the low ceiling type on the south side of a home 
which actually becomes very warm during the sum- 
mer; in which ease the cool, blue-grays with a bit of 
contrasting orange, gold or pink are used. Cool blu- 
ish-greens and greenish-grays with pale lavender and 
black are useful in such rooms. For other bedrooms 
light grays which have yellow or red in their makeup 
for warmth, ivory with lght olive green, dull blue 
or gold are good color combinations, as are also deli- 
cate blues, creams and light grays. 

Mere common sense warns us also against the so- 
called spring greens, or even the too strong blues in 
bed rooms. But if the vivid hues are out of keeping, 
equally so are the sad and sombre colors. Sheer com- 
mon sense again warns us against the depressing, mel- 
ancholy tones, against blues of too great weight, 
against the solemn purples that have been called the 
‘ashes of color,’’ against certain dark reds which 
may be described as sullen. 

There are left, then, for bedroom use, various shades 
of yellow, soft greens, soft blues and grays; and the 
possibilities for working out variations upon these, as 
well as for combining them into color chords, are 
infinite. 

No color is more suited to the bedroom than grey, 
which has been called the peacemaker of colors. Na- 
ture, as we all know, uses grey and grey-browns lav- 
ishly when she wishes foils for her particular beauties. 
We realize this when we note her coloring of the 
eround, of rocks and of certain lichen vegetation. 

Grey is a versatile color, almost a treacherous one, 
for in certain states—in that of steely tone, for in- 


40 INTERIOR WALL DECORATION 


stance, where it is a mean between black and white— 
it is far from friendly. Rather it is suggestive of 
mediaeval prisons and of stern limitations. On the 
other hand, when warmed with an admixture of yel- 
low, or a small amount of red, grey will prove essen- 
tially fit for the restful room. 

As sheer gray suggests limitation, blue, even in its 
heavy forms, suggests the illimitable. In its lightest 
tones a characteristic of the lmitless sky, blue pos- 
sesses the rare quality of allurement. 

Color Schemes for the Hall—The entrance hall is the 
first introduction visitors have to the home and is re- 
sponsible for the first impressions gained. It ought to 
be decorated in warm cheerful colors ordinarily and 
also to harmonize with the living room. 

Yellow tints or shades, tans, ight browns and some- 
times dull rose, buff, fawn, ve and cream are de- 
sirable in this room. 

For large halls fairly dark greens and dull ee drabs 
and browns are permissible but they are quite certain 
to cause a small hall to appear still smaller. The tints 
in small halls should be very light always. 3 

Schools, Churches and Banks.—Quiet and dignified 
color plans are most suitable for these buildings. ~ 
Neither color or stencil design should be strong enough 
to attract or divert attention. Dull, low tones of 
buff, drab, green, gray, blue, russet and brown serve 
the purpose admirably and offer a wide range of colors 
but they are likely to be dull and monotonous unless 
a certain amount of luminous or bright color is added 
such as in a stencil here and there to give the neces- 
sary amount of life and brightness without disturbing 
the dominant tone of the quiet, restful colors. 

Color Schemes for Children.—A much better choice of 
decorations for a child’s bedroom or nursery is more 
evident today than ever before, but there is still some 
tendency to force upon children color schemes which 


RELATION OF WALLS TO FURNISHINGS 41 


are appreciated more by grown-ups. A child’s natural 
preference for colors tends towards bright, pure tones. 
It is possible to satisfy that preference without mak- 
ing a room too intensely stimulating to grown-ups. 

- When we attempt to force upon children a prefer- 
ence for quiet, subdued harmony very early in their 
lives nothing is really gained by it. In the beginning 
a child’s preference is quite:similar to the preferences 
of primitive peoples and savages. When children are 
allowed to exercise their preference at first they na- 
turally become satiated with brilliant, pure colors and 
come naturally to a perference for true color harmony 
of greyed tones later in life. 

The large surfaces such as walls and ceilings and 
floors in a child’s room may well be given greyed, sub- 
dued colors but let there be considerable areas of the 
walls near the bottom which contain pictures or deco- 
rations done in pure, bright complementary colors. 
The pure intense reds, orange, yellow, blue, green and 
purple in moderate areas will satisfy and amuse the 
children without undue stimulation to mature persons. 

The furniture of a child’s room may well be colored 
with the greyed color hues, generally, but each piece of 
furniture should have its small area of pure, bright 
color. The toys will come naturally in bright colors, 
too. The bright colors and the grayed colors of the 
furniture should, of course, harmonize with the floor, 
walls, ceiling and wood trim colors. 

Large Rooms.—Moderately large rooms offer greater 
latitude in choice of colors, textures and design than 
is possible in small rooms. 

Here color schemes may be used which utilize greater 
contrasts of values, as between tints and shades of 
one color or as between light and dark colors; also 
eolors may be used which constitute greater contrast 
of color hues, of related colors or complementary col- 
ors; and here also colors are permissible which show 


42 INTERIOR WALL DECORATION 


a greater contrast of intensity in pure, brilliant tone 
as between complementary colors and related colors. 

In other words, stronger, brighter colors, those which 
have been greyed or neutralized to a lesser degree by 
mixing in white or complementary colors may be used 
in large rooms. 

In moderately large rooms the advancing colors may 
be effectively used, not in their pure brilliant tones 
because that might produce too great a contrast of 
intensity, contrast of color hue and contrast of values 
as well. 

But the advancing colors which are orange, reds, 
yellows, creams and light tans may be used in less 
oreyed or less neutralized degrees. 

Pure, intense tones of blues and greens are advanc- 
ing colors as compared to greyed tints and shades of 
blues and greens. As compared to pure intense reds, 
orange and yellow, the pure bright blues and greens 
are, of course, receding colors. 

Gloss and semi-gloss finishes may be used in large 
rooms but should not be used in small rooms, since they 
apparently emphasize the limits of vision and appear 
to make a room smaller. Flat finish is best for small 
rooms and may also be used in large rooms. 

On the walls of large rooms very rough textures in 
special wall finishes lke old Englsh, Holland and 
Roman Travertine are fitting, as also are stronger de- 
signs in wall paper which contrast to a greater degree 
in values, hues and intensities of colors than should be 
aya iee) in small rooms. 

Small Rooms.—aA selection of color schemes for small 
rooms usually involves a consideration of ways and 
means to apparently increase the size of the room. 
Even when this is not especially desired the decorator 
must at least avoid a color treatment which will ap- 
parently shrink the size of a room. 

Walls of a room limit the vision. Colors on walls 


RELATION OF WALLS TO FURNISHINGS 43 


emphasize or minimize this limitation according to 
their character. | 

Generally speaking, the receding colors are the 
blues, greens and the darker shades of other colors. 
Pure intense blues and greens are, however, receding 
colors only when compared to other pure, intense col- 
ors like orange, reds and yellows. Pure intense blues 
and greens are advancing colors compared to lght 
tints and greyed hues of blues and greens when used 
in large areas. | 

Greens, blues and blue-greys which can be used on 
large wall areas to give a receding atmosphere are 
such as range from pale, pure tints of these colors to 
oreyed, neutralized dark shades like olive shades and 
old blues. 

When you reduce the intensity of these pure blues 
and greens by mixing white with them, or neutralize 
them with their complementary colors, orange and red, 
you remove their insistent display strength, you make 
them as fully receding as possible, with the consequent 
effect of apparently increasing the size of the room. 

By the use of strong advancing colors like yellows, 
orange, reds and all tints which ean be used to express 
sunlight the wall limitations are emphasized and made 
to appear nearer at hand—the room seems smaller with 
bright colors on the walls. 

Gloss colors are more advancing than flat colors. 

Spotty and strong patterns, stripes and designs in 
general which contrast sharply in values emphasize the 
limit of vision and should not be used in small rooms. 
Wall paper having large and prominent design which 
contrasts highly in value, hue or intensity is especially 
to be avoided in small rooms. 

In nature’s great color schemes the foreground is 
rough and broken but the distant hills and horizon are 
visible only as grey-greens, grey-blues and misty greys. 


44 INTERIOR WALL DECORATION 


In like manner we must construct color schemes for 
rooms to be given an apparently larger size. 

To sum up, then, color schemes for small rooms and 
all decoration to give the effect of distance and re- 
cession should be composed of weak, light patterns, if 
design is attempted on the walls in the form of wall 
paper or as rough textures of special wall finishes. 
Patterns of rugs and linoleums for the floors in small 
rooms ought also to be small, light in form and color 
contrasts of values, hue and intensity ought to be 
low. In some rooms perfectly smooth walls without 
texture are needed. 

Walls in small rooms should have a flat, not gloss, 
finish and the greyed blues and greens and cold greys 
are the colors to use for key colors. Self-tones and 
very closely related colors are especially useful in 
small rooms. 

If the ceiling of a small room is low, increased height 
can be apparently given by the use of vertical stripes 
in wall paper or stencil designs on the walls. These 
should be in self-colors or very greyed tints of related 
colors having little contrast of values. Strong con- 
trasts of values, hues or intensity will make the wall 
advancing in color and apparently decrease the size 
of the room. 

Vertical panels using picture mouldings will also 
apparently increase the height of low ceilings. 

A ceiling too high may be lowered apparently by 
use of darker color on it, by lowering the picture 
moulding to create a wide frieze at the top of the wall 
to be colored like the ceiling. Horizontal panels of 
picture mouldings will also decrease the height of. 
ceilings. 

North Exposure.—Obviously rooms on the north side 
of the residence receive no direct sunlight and while 
they may be just as warm in fact, owing to an effi- 


RELATION OF WALLS TO FURNISHINGS 45 


cient heating plant, they often seem cold and lack 
the cheer of rooms receiving the direct rays of the 
sun. This condition then offers an opportunity to the 
decorator to add to the room a warm, cheerful atmos- 
phere. For both walls and stencils tints and shades 
of the warm colors, red, yellow orange and warm 
brown are in order for this purpose also. Tan, cream, 
ivory, old rose, warm grey (has red or yellow in its 
makeup) and green which is toned with red, orange 
or yellow. : 

Often a wall color that is much too dull and cool for 
a north room can be brightened up materially by us- 
ing quite strong, warm colors in the stencils. <A fairly 
dark cobalt blue, for instance, on the upper side wall 
of a north exposure dining room may effectively be 
warmed up by stencil tints of ight brown, tan, buff 
or cream. 

The woodwork would best be fumed oak or one of 
the brown oak shades, mahogany, natural birch, maple, 
pine, cherry, cypress, ivory or other warm colored 
enamel. 

South Hxposure——The aim in decorating such rooms 
is diametrically opposite from that for north expo- 
sures. The colors ought to be such as will modify 
the glare of direct sunlight and to cause the rooms 
to appear cool. The cold colors, blue, green, grey, 
violet, purpie and lavender, are now most useful. The 
grey ought not to contain red or yellow and the green 
should be one in which the blue, not yellow, predomi- 
nates. In a room that is very light the greys may be 
most satisfactory ; they do not fade so soon or as read- 
ily as the greens, blues, ete. 

Blue-green and old blue made by tempering blue 
with black are much to be preferred to either color 
in its full or pure state. 

Inght and Dark Rooms.—When rooms to be decorated 
are lighter than average extra care ought to be taken 


46 INTERIOR WALL DECORATION 


to avoid the use of pure, intense colors and even bright 
but greyed colors in large areas. In such rooms the 
bright light causes colors to display their brightness 
to the greatest extent. 

In light rooms it is equally important to avoid great 
contrast of values, hues and intensities of colors, also 
strong patterns in wall paper and all greatly contrast- 
ing design. 

Useful colors in very light rooms are: French grey, 
warm grey, pearl greys, olive, old blue, dull reds, neu- 
tral greens. 

Dark rooms, on the other hand, may well be deco- 
rated in rather a colorful manner. Strong contrasts 
of value, hue and intensity are permissible and are 
often urgently needed; especially are the sunshine col- 
ors needed—yellows, reds and orange tints. 

In dark rooms, too, the wall patterns in paper and 
stencil design as well as rough textures of special wall 
finishes can be more prominent. 

Colors used in dark rooms may be selected to add 
light to them. Yellow reflects more white light than 
any other color; so the yellows, cream, ivory and light 
tans and buff are useful colors in dark rooms. 

Glaringly hght rooms are made more restful by the 
selection of dull greens, greyed blues and greenish or 
bluish greys. These colors absorb more light than they 
reflect. Deeper, darker, though neutralized, greens 
and blues may be used in rooms which are possessed 
of strong natural light. 

Colors for Wood Trim.—Having wood trim which is 
out of harmony with the decorative scheme preferred 
for a room it is always possible, obviously, to paint or 
enamel the trim a color which does fit in with wall 
colors wanted and the furnishings. That, in fact, is 
the English and European practice. In America where 
there is so much beautiful wood trim naturally fin- 
ished, many are reluctant to enamel it and thus hide 


RELATION OF WALLS TO FURNISHINGS 47 


the grain. It is an outstanding fact, however, that a 
color harmonious interior as a whole is often not pos- 
sible without changing the color of the wood trim. 
Often by staining natural colored trim, or restaining 
stained trim, its color can be made to harmonize with 
the balance of the scheme, at the same time preserving 
the beauty of the Peru erain. 

There is a much greater tendency today than ever 
to subordinate the wood trim, to paint it out, in order 
to make it a part of the color scheme in harmony with 
the whole unit. Often, in small rooms especially, it 
is painted or enameled the same color as the walls; 
or it may be a tint or shade of the wall color—a bit 
lighter or darker. 

At times a related color or a complementary color 
in greyed or neutralized degree is needed. The amount. 
or area of the wood trim is the determining factor. 
The greater the area of wood trim the less prominence 
and less contrast in the color are needed. 

Many have the idea that Colonial architecture must 
invariably be enameled white. This is not in accord 
with the dictates of history or of color harmony. In 
these old homes the wood trim was also colored with 
greys, dull greens, yellowish browns and with other 
tints and shades. 

In any discussion of colors to combine with different 
kinds of stained wood there is always the difficulty 
that the name of the wood is taken as expressing a 
color thought—while as a matter of fact 1t does noth- 
ing of the kind. It means nothing but a crude mate- 
rial which may alter in color according to how it is 
finished. 

Wood, as a rule when finished for interior trim or 
for furniture, has a color, light or dark, produced by 
the finishing rrerels ela must be penaidered alone. 
To say, therefore, that grey-blues combine with wal- 
nut or dark greens combine with mahogany is mean- 


48 INTERIOR WALL DECORATION 


ingless excepting that it refers in a general way to 
the colors in which these woods are commonly finished. 
It is unsafe to depend on such rules excepting as the 
most general of guides. A goodly number of shades 
of mahogany finish and oak used in interiors may be 
colored grey, green, black, yellow or brown. 

If any degree of refinement is to be secured it is 
much better to get down to basic principles of color 
harmony and work out each problem independently 
with the color of the particular piece of wood as a 
starting point. 

It is often a mistake in redecorating rooms to leave 
the woodwork in the color in which it is found. There 
has been for years a tradition among decorators that 
it is Something akin to sacrilege to paint good wood- 
work. 

The architect and the builder are accountable pri- 
marily. They build a house and put the dark-colored 
oak and mahogany trim in the hall-ways and the bil- 
liard-room, in the library and the study in the time- 
honored belief that these rooms eall for dark shades 
in woodwork. Notwithstanding tradition, common 
sense dictates that if these rooms are in any degree 
lacking in natural light, as they often are, they should 
be treated in receding, light-reflecting colors—tones 
that make rooms look larger, lighter and more cheery. 

Ceiling Colorings—A lazy habit in our midst is 
largely responsible for the fact that most ceilings are 
thoughtlessly colored plain white, ivory or cream as a 
‘rule, giving an impression of a room without a roof; 
the walls seem to stand alone. 

It is said that these tints reflect light and so they do 
but in most rooms that is of minor importance. Com- 
plete color harmony is often sacrificed by our indiffer- 
ence to ceiling colors. 

Often on average jobs the contrast of values between 
ceiling and walls is too great; the ceilings, then, are 


RELATION OF WALLS TO FURNISHINGS 49 


not a continuation of the harmony of walls, trim, floor 
and furnishings, yet a ceiling is just as much a part 
of the room as these other elements. 

It is true that dark colors are not permissible on 
ceilings, unless they are unusually high and there is 
a wish to apparently lower them by decorative treat- 
ment. But more color ean be carried to ceilings with- 
out lowering them and greater unity in the harmony 
of interiors will result. Related colors, or complemen- 
tary colors much greyed and in light tints, are quite 
as suitable as the self-tints usually used. For example, 
in a color scheme the key color of which is brown with 
climax color of rather pure, intense orange and sub- 
ordinate shades of greyed blues, a selection for a ceil- 
ing color could be a light tint or greyed orange or a 
light greyed blue tint. ; 

And when self-tints are used they may well be a bit 
more colorful, since as a rule now the contrast of 
values between ceiling and walls is too high, too great. 

Colors of pure intensity must not be used on ceilings. 
Strong contrasts of value, hue or intensity of ceiling 
color makes a ceiling too prominent, too advancing. 

Floor Colors and Designs.—If£ we would gain harmony 
in a room as a whole and center attention on a climax 
consisting of a single display of bright color or a con- 
centrated group of color, then strongly contrasting 
color and design in rugs, tile or linoleums must not be 
allowed. 

It is best to have floor colors and designs subdued 
and quietly harmonious with the room as a whole. The 
floor is the foundation, it should be a darker tone than 
walls and should not be so strong in color or design 
as to compete with the climax point of the room. Self- 
tones and related colors low in contrast of value, hue 
and intensity are essential. When complementary col- 
ors appear they must be much subdued and greyed. 

Pictures, Frames, Mats——tThe selection of pictures for 


50 INTERIOR WALL DECORATION 


a home is nearly always an exceedingly personal affair. 
Decorators have little opportunity to advise concern- 
ing the character of pictures which come into a home, 
but they can as a rule have a voice in allotting cer- 
tain pictures to appropriate rooms. Personal prefer- 
ences of the occupants will be asserted, in some in- 
stances, regardless of what their choice of pictures 
does to a color scheme, but a decorator who can point 
out good reasons for his preference usually has his 
way. 

Pictures which are very colorful displaying pure, 
intense colors in large area should be used only as a 
climax or central point of interest in a color scheme. 
One to the average room is quite enough; more than 
one picture like the brilliant red English coaching 
scenes and such as have strong contrasts like the 
poster style is likely to set up competition for atten- 
tion. Also too much eye stimulation will result, with 
attendant fatigue and restlessness. 

Picture frames should tone-in with the pictures, the 
wall color, furniture and wood trim. Well framed pic- 
tures as a rule have frames which repeat the key color 
of the picture in self tints or shades; sometimes a 
greyed, related color or a much greyed complementary 
color is used on the picture frame. 

Mats are quite useless on many pictures and are 
often very bad for a color scheme. White and very 
light colored mats give the effect of a hole in the wall; 
they clamor for attention and irritate the eye nerves. 
White is more advancing than many colors and is quite 
as likely to be a note of discord in a color scheme as 
a vivid color which is out of harmony. In fact pure 
white areas like picture mats, table covers, scarfs and 
lace curtains are likely to separate from the color 
scheme and jump out at you, especially when the wall 
color and the whole scheme is low in contrast of values 
or rather dark. 


RELATION OF WALLS TO FURNISHINGS 51 


A white area in a room is usually the first element 
noticed on entering and it competes for attention al- 
ways. 

If mats are used they should be subdued by coloring 
to harmonize in low value with the frames and pic- 
tures. Self-tones repeating the frame colors are usu- 
ally safest to use. Sometimes a mat may be covered 
with a fabric of just the right related color or greyed 
complementary color, but extreme care must be taken 
to avoid making the mat more prominent and advance- 
ing than the picture itself. | 

Drapes and Window Shades.—Window hangings are 
often made the color climax of a room, rather uncon- 
sciously, to be sure, but sometimes with good effect. 

If the windows are not too large and too numerous 
and other centers of interest are lacking a note of 
cheer may well be given by using pure, intensely 
colored drapes. 

The tendency now is to build more and larger win- 
dows in homes and there is considerable likelihood that 
brightly colored drapes in such homes will be a jarring 
note, because of the large areas. 

In those cases where large areas of drapes are needed 
the color should be of a very much greyed and sub- 
dued character and of plain colors, rather than strong 
figures and patterns of design lke cretonne. 

As a general rule where the color climax of a room 
is at some point of interest other than the windows, 
the drapes should be in subdued colors. The domi- 
nant color note of the walls and the color scheme in 
general is the key to correct and easy selection of the 
drapes and shades. 

When wall paper is used the drapes may repeat 
one of the color notes of the paper, matching it in 
self tint or shade, and in the case of drapes of silk 
or other fabrics with a sheen, the dominant hue of the 
wall color is also repeated in the drapes. 


52 INTERIOR WALL DECORATION 


When the wallpaper or all-over stencil designs are 
rather prominent the drapes ought to be of plain, 
subdued color fabrics. 

Drapes, in general, may be a harmony of self-tones 
with the wall colors, they may be related colors or 
complementary colors subdued by having been greyed 
or neutralized. And the contrasts of values should 
not be great—a scheme of low tones is best. 

Many textiles and objects of nature reflect a series 
of related colors. Red velvet drapes in sunlight show 
orange where light strikes directly, shading to orange- 
red, red and red-violet in the shadows. A green leaf 
on a tree reflects yellow-green, green, blue-green and 
dark blue in shadows. Such surfaces displaying a 
play of light and shadow make charming drapes. 

Panels and Stripes—Although walls should remain 
always as the background, the foil against which the 
furnishings are displayed, it is, nevertheless, possible 
for a wall to be too flat, uninteresting and monotonous. 

Walls of large area may be broken up in many ways. 
The rough textures of special wall finishes like Roman 
Travertine, Old English, Holland, Sand-Float and Tif- 
fany Mottling and Blending accomplish this artistic- 
ally. Well selected wall papers serve the purpose. 

Panels formed of picture mouldings’ and propor- 
tioned with a good sense of balance are excellent. Ver- 
tical panels apparently increase the height of a ceil- 
ing. Horizontal panels lower a ceiling, apparently. 

Vertical stripes in wall paper or applied by sten- 
cils or the vertical textures of rough special wall fin- 
ishes give apparent increased height. 

All-over patterns of wall paper break up an unin- 
teresting wall and the all-over diaper stencil patterns 
so much used in England give a very interesting note 
of design and self-tones or related colors. Strong con- 
trasts of values, of color hues and of intensity of colors 
must be avoided in all-over designs. 


RELATION OF WALLS TO FURNISHINGS 53 


A flat, uninteresting wall may also be relieved by 
slight changes architecturally ; the addition of vertical 
pilasters or columns against the walls reaching about 
two-thirds or three-fourths of the way up to the eeil- 
ing. These may be built in pairs or singly on all walls 
of the room, being careful to balance them. With a 
projecting cap at the top or cornice of mouldings, a 
finish is gained and an opportunity offered for a deco- 
rative effect by placing a vase, lamp, bit of pottery 
or a growing plant on top. 

A Suggested Experiment.—While it is always useful 
to have a set of color cards handy showing individual 
colors this usually confuses the average customer, It 
will be much more useful if you will make up a set 
of color cards which is composed of perfect combina- 
tions of colors. A search for such color combinations 
and the habit of making note of them is a profitable 
enterprise. 

In your search for useful color groups it is well to 
take particular note of the impression given by each 
type of color combination. Note the simplicity, dignity 
and attractiveness of the self-tone color schemes. 
Make a search for these not only in the color schemes 
used on the interior of homes, public buildings, show 
windows and in merchants’ shops, but also, such color 
schemes in nature. In your scrap-book make up half 
a dozen color schemes after this principle, by mixing 
colors in the ordinary manner and spreading them 
on to sheets of heavy water color paper, in two or 
three coats. When the paint is dry cut out color chips 
two or three inches square and paste them in your 
serap-book. If you will do this for each of the tints 
or shades used in a Self-tone color scheme you will 
have a group of harmonizing colors which will be use- 
ful for a long time and for many jobs. 

In this first group you should have color schemes 
each one of which is made up of self-tones of one color 


54 INTERIOR WALL DECORATION 


and which illustrate how contrasts in values—con- 
trast of light and dark colors, add life to the scheme. 
Then, this group should include color schemes which 
are warm, those which are cold and those which are 
composed of greyed or neutral colors. 

In this same serap-book, but in another section, begin 

a collection of color schemes which harmonize by the 
principle of related colors-analogy. Note how the ad- 
dition of related color adds life to a self-tone color 
scheme. In this group divide the color schemes into 
three classes, too,—color schemes which are warm, 
some which are cold and some which are greyed or 
neutralized. 
. In still another section of your secrap-book start a 
collection of color schemes which are constructed after 
the principle of complementary colors and noting, par- 
ticularly, how much more perfectly they balance and 
satisfy than either of the other two groups. 

In searching for groups of colors which harmonize 
there are many fields which offer both pleasure and 
profitable returns. Public buildings and homes which 
have been decorated according to the plans of profes- 
sional decorators who are capable offer much material 
for study. In museums and art galleries the paintings, 
textiles, pottery and art objects of many kinds offer 
numerous illustrations of color harmony by one prin- 
ciple or another. In nature, illustrations of color har- 
mony are limitless. 

In all your observations following these suggestions 
you will find great variety; there are color schemes of 
ereys alone, of several values of one color, of greys 
and one other color, of black and one other color, of 
greys and two other colors, of black and two other 
eolors and of three or more colors with the addition 
of grey or black. 


CHAPTER III 
PROCEDURE IN DECORATING 


Just where to make a start on any job of decorat- 
ing is often a point of considerable uncertainty with 
one learning this work. And it is worth considerable 
thought because starting in the wrong place is not 
only contrary to trade practice in the sight of others, 
but often it leads to confusion, loss of time and the 
completion of a job in a defective manner. 

By way of illustrating these points, consider the 

varnishing of a floor. If the work is not started in 
the far corner away from the door the decorator finds 
himself in the far corner of the room at the comple- 
tion of the job surrounded by wet varnish. He is un- 
able to walk to the door without stepping in wet 
varnish. Sounds ridiculous, doesn’t it? Yet that has 
been done. 
- Cleaning Up the Place—About the first step to be 
taken in the decoration of a new or old room is to do 
a thorough job of cleaning of walls, ceiling, woodwork 
and floor. The importance of removing all loose dust 
and dirt as well as any rubbish, plaster, lumber, ete., 
from the room in-a thorough manner cannot be over- 
emphasized where high class work is to be. done. 

Drop Cloths Needed.—After all loose plaster has been 
removed from the wood trim, walls, floors, ete., and 
the room made thoroughly clean, you are ready to 

BB 


56 INTERIOR WALL DECORATION 


cover the floor and any book-cases or built-in furni- 
ture with drop cloths which are large pieces of hght 
weight duck or heavy muslin sewed into large squares 
which range all the way from about 10 feet square 
to many times that size. 

Ladders and Planks—The next requirement to en- 
able you to reach the ceiling and upper walls is that 
you provide either the common type of painter tres- 
tle ladders and ordinary planks such as are illustrated 
in Plate 1, or the patented, adjustable scaffolds and 
extension planks. 

Having your scaffold in place, you are in position 
to do a thorough job of cleaning by removing loose 
plaster and dust from new walls or by washing old 
calcimined or painted surfaces. 

In small rooms two of the trestles and one long 
plank are usually enough to permit two men to work. 
In large rooms four, six or eight scaffolds of this kind 
are used to save time. In retail store buildings, where 
business is carried on while decorating is being done, 
the trestles and planks are put up and large drop 
cloths are placed on top of this working platform 
rather than upon the floor so that the decorators can 
work during business hours without the likelihood 
that paint may be spattered upon merchandise or cus- 
tomers below. This same arrangement is used while 
decorating large factory work-rooms as well as in 
churches and other public buildings. Very often in 
churches it is essential to use the adjustable, pat- 
ented scaffolding jacks or to build up a regular car- 
penter’s scaffold, usmg 2 x 4 or 4 x 4 timbers and 
planks. There are, of course, scaffolding concerns 
which make a business of erecting scaffolds for deco- 
rators on these large, special jobs. For instance, in 
painting the White House at Washington which is 
done every third year, a separate contract for scaffold- 
ing the whole job is let. 


PROCEDURE IN DECORATING 57 


Plate 1.—Trestles, Ordinary Plank and Extension Plank. 


INTERIOR WALL DECORATION 


an 
Oo 


Where to Begin to Work.—The procedure in decorat- 
ing the average room is that of working on the wood 
trim and finishing it including the staining, filling and 
varnishing before the ceiling and walls are decorated. 
Next the ceiling is decorated. After that the walls 
are calcimined, painted, glazed or covered with wall 
paper or fabric. 

In calcimining or painting the walls the beginning 
is made in the upper left hand corner, working from 
the top of the wall to the bottom and from left to 
right. A stretch of painted surface is carried down 
from top to bottom about as wide as a comfortable 
sweep of the arm can take, although in the use of flat 
paint and enamel a stretch only about one or two feet 
wide carried down from top to bottom is ample to 
permit keeping the edges wet for proper brushing. 

The floors are finished last and the work should 
start in one of the far corners of the room proceeding 
from that point to the door. 

No matter how thoroughly the surface in a room 
has been cleaned at first it is a wise precaution to dust 
them off immediately before applying paint, enamel, 
varnish, etc. 


CHAPTER IV 


PREPARATION OF SURFACES 


As in the building of a house and most all other 
undertakings the foundation work is all important. 
Preparation of surfaces for decorating constitutes the 
foundation of the job, and unless it is thoroughly 
done one cannot reasonably expect a perfect. and 
highly attractive result. 

New Smooth-Finish Plaster—On the average job the 
decorator will find that the plasterer has left more 
or less material splashed on corners and edges of wood 
trim and there may be rough places here and there. 
All excess plaster should be removed in a clean man- 
ner and any rough places on the walls ought to be 
sanded down smooth by rubbing the rough places with 
fine sandpaper on a block of wood. In this rubbing 
eare should be taken to avoid cutting through the 
glazed surface of the plaster. If it is rubbed through 
you will produce a suction spot which will show up flat 
on your finished coat, unless coated with shellac and 
an extra film of paint. If there are any blisters in 
the plaster, due to careless mixing of the material, 
they ought to be cut out and filled with putty < as aie. 
scribed later in this chapter. 

Around door and window easing’ as well as in some 
corners there will be cracks and openings which should 
also be filled with putty. 

59 


60 INTERIOR WALL DECORATION 


After all filled and repair patches have been made 
and are dry they should be coated with thin shellac 
before proceeding with the job. The object of this 
is to produce a surface on these patches which is 
equally hard and well filled as the trowel-glazed sur- 
face of the plaster in general. When the shellac is 
dry it is well also to brush over these fillings with a 
coat or two of flat paint as that will assure a uniform 
surface. If this is not done the spots coated with shel- 
lac may produce a higher gloss on your finishing coat 
than the balance of the wall—in other words, the wall 
will have a spotty appearance with shiners on it. 

The decoration of walls is always more permanent 
and satisfactory if it is delayed for two or three 
months to allow the new smooth plaster to mature. 
In the present day schemes of operation, however, 
this is not always possible. The next best procedure, 
then, is to coat the walls first with a wash made by 
dissolving 4 lbs. of zine sulphate crystals in 1 gallon 
of water. This will neutralize any active alkali spots 
which would have a tendency to destroy the binder 
in paint and to cause a change in some colors to faded 
flat spots. | 

Sometimes new plaster on hard finished walls is too 
soft and it chalks off excessively. In such cases if 
water is applied generously with a brush, or sponge, 
until the surface is soaked the plaster will dry with 
a harder surface in four or five days time. 

Old Smooth-Finish Plaster—The preparation of old 
walls is accomplished in much the same manner as 
described for new walls except that as a rule there is 
more cutting out and filling of cracks, holes and dam- 
aged places. 

Too much stress cannot be put upon the importance 
of doing this preparatory work thoroughly, because 
when this work is slighted time is lost later on the 
job trying to touch-up and overcome defective fillings, © 


PREPARATION OF SURFACES 61 


or to hide imperfect places which should have been 
filled during the preparatory operations. 

Whether an old wall must simply be washed or 
whether the old paint requires much scraping are mat- 
ters which ecall for the exercise of good judgment 
based upon experience. 

The preparatory work for calcimine invariably in- 
cludes washing off the old calcimine rather than *‘top- 
ping-over’’ the old material with a new coat. 

When canvas or other wall fabrics are to be ap- 
plied, careful examination should be made to be sure 
that the old paint and size coats are firmly attached. 
It is seldom safe to put on fabrics over a gloss oil 
sized wall without removing the size or at least with- 
out applying a coat of flat paint on top of the size. 
Fabrics will not adhere to the surface very long when 
pasted on to gloss oil size. 

New Rough-Finsh Plaster—tThe first operation in 
this work is to brush down the surface with a broom 
to remove all loose sand and plaster particles. 

New walls that have not been allowed to stand a 
month or two, which time is required to neutralize the 
alkali of the surface, should be given a wash coat com- 
posed of 4 lbs. of zine sulphate crystals dissolved in 
1 gallon of water. This will offset the tendency of hot, 
alkali spots in the plaster or the causticity of cement 
walls to burn the life out of the paint binder and 
to cause fading in spots of some of the colors. 

On sand finish, rough cast and stucco walls, varnish 
size is not suitable. Glue size having greater strength 
than is permissible on smooth plaster walls is required 
to bind together any loose sand on the surface and 
to stop suction. It is a good plan, however, to brush 
on a coat of oil paint before the size, or to use the 
oil and glue size mixture given in Chapter V. If glue 
size is put on next to the bare wall it may cause paint 
which is put on top of it to scale in case dampness 


62 INTERIOR WALL DECORATION 


should get into the plaster. When glue size, which 
is water soluble, is put on between coats of paint it 
is protected from moisture. 

Old Rough-Finish Plaster—The preparation of. this 
kind of surface usually calls for no more work than 
washing down to remove surface accumulations of 
dust and smoke, the starch coat, if any was used on 
it, and also the glaze coat of water stain if that char- 
acter of decoration was used before. 

The preparation and filling of cracks and holes in 
this surface is covered later in this chapter. 

New Wall Board Walls—The use of this material 
in many instances includes the application of wood 
moldings over the seams. If, however, the seams are 
not to be covered with wood strips it is wise to fol- 
low the directions given by the wall board manufac- 
turers for filling up and leveling such seams. Before 
a first class job of this kind can be secured it is es- 
sential that the walls built of 2 x 4 studs shall have 
been done in the particular manner required for this 
work. This means that bridges are essential under 
all butted joints, back of the wall board at the top of 
baseboards, plate rails, chair rails and picture mold- 
ings. Furthermore, it means that nothing but straight 
studding can be used on such jobs. 

Even after all of these precautions have been taken 
and after the wall board has been firmly nailed in 
place, there are some types of this material which ex- 
pand and contract sufficiently, between the times when 
a room is heated and when it is not heated, to break 
joints which are most carefully made, concealed and 
covered with canvas. Some types of wall board made 
of plaster do not expand and contract to this extent. 
Furthermore, some types of such wall board material 
are made with beveled edges which allow a greater 
volume of putty or stopping-up material to be used 


PREPARATION OF SURFACES 63 


in the joints. Where board which is cut square at the 
joints is used the sections should not be butted too 
closely together. At least 4% of an inch opening should 
be allowed in order to receive enough putty to anchor 
itself. 

The seams of such wall board should be filled with 
a special putty preparation: made by the manufactur- 
ers of the board or with Swedish pa which is de- 
seribed in this chapter. 

If the wall board used is of the type which will not 
expand and contract with changes in temperature it 
will pay to cover the entire surface with canvas, bur- 
lap or other fabric, but such fabrics will pull loose 
and bag over joints when put on over wall board which 
contracts when the winter heat is turned off. 

After joints and nail heads are completely filled 
and allowed to dry, sandpaper them down level with 
the wall and clean the entire surface to make it ready 
to paint. 

It isa good plan to put on a coat of thin paint first 
if a glue size is to be used. If a varnish size is to be 
used it may be put on as the first coat. 

Old Wall Board Walls——These surfaces should be 
treated in all respects the same as plaster walls as to 
washing and cleaning. Damaged places should be 
filled with a Swedish putty rather than plaster of 
Paris putty. 

Old Painted Walls—On most jobs of this kind the 
old paint is firmly attached to the surface and the es- 
sential preparatory work consists of washing to re- 
move dust and smoke. The repairing of damaged 
places and filling of cracks should be done exactly 
aiter the same methods as were described for new 
work. 

Concrete and Brick Walls.—Surfaces of this type, as 
a rule, are coated with mill white, calcimine, eold wa- 


64 INTERIOR WALL DECORATION 


ter paint or one of the prepared flat wall paints, al- 
though they may be painted with oil paint such as 
is prepared for exterior or interlor wood surfaces. 

New cement surfaces which have not been allowed 
to stand a month or two should first be washed down 
with a solution made of 4 lbs. of sulphate of zine to 
1 gallon of water. The surface should be allowed 
to dry thoroughly a day or two before painting. The 
purpose of this wash is to neutralize the causticity of 
any active alkali on the surface. 

The next step in painting concrete surfaces and the 
first step on brick surfaces is to brush them down 
thoroughly with a broom to remove any loose sand 
or plaster. After this operation the walls may be 
painted in exactly the same manner and with the 
same materials as are used for wood surfaces. 

Washing Walls and Ceilings——This might seem to 
be quite an ordinary operation requiring no explana- 
tion and yet there are quicker and better methods 
than might commonly be used by the inexperienced. 

To a pail of warm water add a little mild soap or 
linseed oil soap, a small amount of washing powder 
or sal soda, a little flour, a little glue or paper-hanger’s 
paste. This water solution should then be brushed on 
to the wall with a large calcimine brush. After one 
wall has been covered with the water and has stood 
two or three minutes go back to the point of begin- 
ing and with a clean sponge and a pail of clear water 
proceed to wash off the surface. The flour paste and 
glue in the mixture will hold the soapy water on the 
surface long enough to dissolve the dirt. 

Some decorators simply dissolve glue in hot water 
until a slightly sticky mixture is made—a weak solu- 
tion. It should be just strong enough so that when 
the fingers are dipped into it and allowed to dry they 
will feel slightly tacky. This glue size is brushed on 
to the wall, allowed to stand two or three minutes 


PREPARATION OF SURFACES 65 


and is wiped off with a sponge and clean water. When 
the walls are very dirty, as on surfaces back of radia- 
tors, it is necessary to add a little sal soda to the water 
solution. 

Walls in kitchens which are usually coated with a 
thin film of grease require a stronger glue size solu- 
tion which also has more soda or washing powder in 
it. The addition of a little vinegar or ammonia in 
water for this purpose makes the job easier. 

Walls which have been starched to protect painted, 
olazed or mottled and blended surface colors should 
be washed with clear warm water only. Walls of 
this type are given a starch coat to protect them and 
when the washing is properly done it is not necessary 
to repaint the surface. Often the surface can be so 
well cleaned by washing that it will pay to starch 
them again. 

Removing Old Wall Paper.—In performing this task 
considerable care must be taken to avoid too much 
injury to the plaster surface. The common procedure 
is to soak the paper with water, using a sponge for 
the purpose. Then, a broad scraper, similar to a putty 
knife, is used to scrape off the paper as fast as the 
water soaks in. 

When there are several thicknesses of paper the 
job is more difficult and the water must be applied 
many times. Occasionally on old buildings it will 
be found that some of the layers of wall paper have 
been varnished and then, of course, the water will not 
penetrate. With this condition there apparently is 
nothing to be done except to scrape the paper off as 
best you can with the putty knife scraper. 

When the plaster has been damaged in many places, 
by removing the paper, it is usually necessary to brush 
on a coat of shellac over the entire surface after the 
cracks and holes have been plugged with putty as 
described elsewhere. The new coats of paint will soak 


66 INTERIOR WALL DECORATION 


into portions of the wall where the plaster has been 
considerably scraped and will leave flat spots in the 
finish. | ; 

In treating such a wall some decorators prefer to 
fill. all the holes and cracks, coat over such fillings 
with shellac and then give the entire wall a coat of 
varnish size. This will make a surface with a uniform 
suction and one which can be easily painted. 

A thorough washing of the walls should be given 
with warm water and a little sal soda or washing 
powder as soon as all of the wall paper has been 
scraped. This washing removes any of the old paste 
or glue size which has been left on the surface. 

A careful covering of the floor and baseboards is 
essential when removing wall paper because the pat- 
terns on such paper are sometimes printed with water 
soluble inks. Such coloring matter is released by the 
water and will run down over wood trim and on to 
the floor, staining such surfaces unless they are pro- 
tected and wiped dry immediately. 

Removing Old Calcimine-—This material should be 
removed by washing in the same manner as was just 
described for washing walls and ceilings. 

The removing of calcimine from rough finished walls 
is very difficult, but it is not necessary to remove the 
material, except when it has shown a tendency to 
seale off. Then, it is necessary only to remove the 
calcimine from areas which have begun to seale. A 
coat of oil paint will have a tendency to bind old eal- 
cimine to such a surface and it is, therefore, not nec- 
essary to wash it all off. 

Removing Gloss Oil Size—For many years it has 
been customary to use a gloss oil size on walls in prepa- 
ration for a ecalecimine job. As long as the size is 
firmly attached to the surface there is no need to 
remove it for repainting or calcimining. If, however, 
the wall is to be redecorated with wall paper, canvas, 


PREPARATION OF SURFACES 67 


muslin, burlap, oil cloth or other fabries it is not 
safe to place any of these coverings on top of gloss 
oil, because they will not adhere to the surface for 
any reasonable length of time regardless of what kind 
of a paste is used. The safe procedure is to remove 
the gloss oil first. 

To accomplish this the gloss oil may be dissolved 
by washing it with a strong solution of sal soda— 
washing soda and hot water. The soda should be 
completely dissolved in hot water and a little glue 
or paper-hangers’ paste may be put into it to keep it 
from running off or drying too rapidly. Brush this 
solution on to the gloss oil size after the old ealei- 
mine has been washed off. Use an old wall brush for 
applying the water, as this strong solution will injure 
the bristles of a good brush. When the solution has 
been allowed to work on the size a few minutes, wash 
it off thoroughly with a sponge and clean warm wa- 
ter. A good precaution to take also is to add a little 
vinegar to the final washing water and that will neu- 
tralize the causticity of any soda left on the surface. 

A method commonly used for treating gloss oil 
coated walls before hanging wall paper or fabrics is 
to brush on one coat of flat paint thinned only with 
turpentine and tinted a desired color. It is really 
cheaper to brush on such a coat of paint than to re- 
move the gloss oil size because of. the labor cost and 
time. 

With your paint coat fairly dry, the next step is to 
put on a sugar size. This size is made by dissolving 
common dark brown sugar in warm water to make 
only a fairly strong solution. Use only enough sugar 
in the water to make it slightly sticky when the fingers 
are dipped into it and allowed to dry. This size 
should be brushed on and when it is dry the surface 
is ready to be covered with wall paper or any of the 
fabrics. 


68 INTERIOR WALL DECORATION 


Scaling Paint.—It is not often that paint cracks and 
scales on interior wall surfaces, but when it does there 
is some question as to whether a surface is safe to 
paint over again. For instance, where paint has scaled 
it can usually be traced to the use under the paint of 
glue size which was too strong. Glue size should never 
be strong enough to form a solid film of glue over the 
surface, but rather strong enough only to enter the 
pores and seal them up without forming a continuous 
film. 

Paint scales sometimes because water has gotten 
into the plaster and destroyed the anchorage of the 
paint film. 

It is seldom necessary to do more than to scrape 
off loose paint scales and sandpaper down the surface 
to remove rough edges. Then, the bare spots should 
be shellaced and when dry one or two coats of flat 
paint should be spread upon these spots. When paint 
upon a-plaster surface has scaled in large areas and 
must be removed there are but two ways to do it 
practically—the use of a blow torch to burn off the 
old material or the use of a liquid paint remover. 
In either case a considerable amount of digging and 
scraping with knife scrapers is likely to cut through 
the glazed surface of the plaster. These scraped sur- 
faces will be more porous than the balance of the 
wall and your new coats of paint will dry flat in these 
spots. To overcome the inequality of suction in such 
a wall some painters use varnish size made as described 
elsewhere in Chapter V. Others brush on two coats of 
thin orange shellac in order to, equalize the surface. 

Cleaning and Cutting Out Cracks and Holes.——When 
called upon to redecorate walls in nearly any building 
which has been in use for some time, the decorator 
finds more or less repair work to be done. There will 
be large and small settlement cracks, due to shrink- 
ing of the lumber frames of the building or the founda- 


PREPARATION OF SURFACES 69 


tion. He also finds holes of various sizes in the plaster 
which have been occasioned by the removal of parti- 
tions or shelves and the damage done by furniture, 
ete. Occasionally such damage to plaster is great 
enough to justify employing a plasterer to do the 
repair work. Too often, however, it is not possible 
to secure a plasterer when needed for this work and 
the decorator himself must do the work. If the plaster 
is loose in areas a foot or more in diameter, it should 
be removed and be replaced with new plaster using 
the same material and methods as are employed by 
plasterers. The plaster can be secured now in dry 
form already prepared to mix with water and trowel 
into place. 

Close inspection of cracks in plaster will usually 
reveal the fact that the plaster bulges out beyond the 
general level of the wall on one or both sides. The 
first step, therefore, is to cut away the bulging plaster 
down to the lath until a straightedge or rule placed 
across the crack shows that both sides of the opening 
are not higher than the general level of the wall. In 
some cases it is necessary to cut out the erack an inch 
or two wide. When the crack has been eut out and 
cleaned, using a putty knife, the surface should be 
smoothed up by rubbing with No. 0 or 1% sandpaper 
covering a block of wood. Care must be taken to 
avoid rubbing the surface too hard or you will cut 
through the hard glaze produced by the plasterer’s 
troweling. Rub the surface only enough to smooth it 
up thoroughly. 

When repairing such cracks or holes in a surface 
it is necessary to cut away the under edge of the 
plaster more than the surface edge. What you want 
to do is to produce a V shape crack with the point on 
the surface ;—the opening of a crack or hole is less 
on the surface than on the side next to the lath. This 
is done so that when new putty or other filling mate- 


70 INTERIOR WALL DECORATION 


rial is put into the crack or hole it is wedged in place 
like a keystone. Plate 2 illustrates this manner of 
cutting and cleaning. 

If there is time, coat the eee of cracks and holes 
with linseed oil ron let the oil dry. If there is not 
time to do this soak these cleaned out edges with water 
before fillmg with putty. 


nl Ffole to be 

Able, Filled 

toe Cut out 
Keystone Shape 


Section of 
Plaster Wall 


Plate 2.—Cutting Out a Plaster Hole and Filling. 


In cutting out and cleaning holes there should be 
no sharp points or loose plaster near the opening—the 
hole should be made approximately round and the 
cutting should continue until the plaster is firm on all 
sides of the opening. 

Sometimes cracks are filled without taking the pre- - 
caution of cutting out and shaping the opening. This 


PREPARATION OF SURFACES 71 


is a bad practice and usually the filling is quite as 
unsightly as the hole. 

As a rule, a fairly large filling in cracks will adhere 
to the surface better than one which is too small. By 
opening the crack a little wider the break in the sur- 
face becomes less apparent. 

Putty Mixing and Use—The skillful use and mixing 
of putty for many purposes is a subject which is de- 
serving of more thought and interest than is apparent 
today. Too often painters and decorators use indis- 
criminate mixtures of putty for all kinds of surfaces 
and conditions. 

The skilled craftsman knows how to mix a putty 
which will dry just as fast as is necessary to accom- 
modate his work, one which is soft and porous when 
dry or very hard; he mixes putty which can be sand- 
papered freely to make a smooth and level surface, 
a putty which can be rubbed with pumice stone and 
water to a fine finish, or one which can be knifed 
on for a heavy filling or for a thin surfacer. 

As a general working rule to follow, it is well to 
keep in mind that putty should be mixed as nearly 
as possible of the same color, texture, degree of in- 
tensity and hardness of surface as the material into 
which it is placed as a filler. A very soft porous putty 
should not be used for stopping up holes in very hard 
dense surfaces, and the reverse is equally true, that 
very hard drying, dense putty should not be used to 
stop up soft, porous surfaces. * 

There is much to be said about using the right 
kind of putty in the right place. Disappointment is 
sure to result, for instance, from using whiting and 
linseed oil putty for filling cracks in hard surfaces 
where a quick job is to be done and with only one or 
two coats of paint. Such a putty dries slowly and 
the oil from it will stain coats of paint and disfigure 
the job. This is especially true where an old putty 


72 INTERIOR WALL DECORATION 


is used on interior surfaces finished with flat coats of 
paint. In these cases the sweating of the putty results 
in shiny spots in the paint and discoloration; in some 
cases the paint may scale off. 

Formulas for mixing putty are innumerable. The 
common putty which you will secure from hardware 
stores and paint stocks generally, made up for window 
sash, is usually marble dust. This putty may be good 
enough for barn sash, but it gets hard and brittle 
shortly and will not remain in place. A little white 
lead, paste or dry white lead, added to this putty 
makes a bettcr material. 

The use of a straight whiting and linseed oil for 
plugging cracks and nail holes on exterior surfaces is 
a bad practice. 

First Class Putty——The common way to make a first 
class putty for ordinary outside work is to take a small 
quantity of white lead paste from the keg and add dry 
whiting to it until a stiff mixture is secured on a slab. 
Pound it*a while with a mallet or club. Then the 
putty is taken into the hands and kneaded until a 
thorough mixture is secured. If the mixture gets too 
dry and thick, add a few drops of linseed oil. If you 
want a putty which will dry very hard and adhere even 
more firmly to a surface, add a few drops of hard- 
drying varnish—floor varnish or good spar varnish. 

Such putty is colored to match paint, or stained 
interior wood trim, by adding tinting colors in the 
dry form. 

Window Glass Putty—The common putty made by 
mixing a fine quality of bolted whiting and a little 
white lead with linseed oil is good for glazing window 
sash, but for glazing steel sash a putty should be mixed 
from dry red lead and linseed oil. 

Knifing Putty—For repairing damaged places in 
walls and woodwork a putty which is to be spread on 


PREPARATION OF SURFACES 73 


and smoothed with a putty knife may be mixed by 
adding white lead paste to fine bolted whiting to make 
a stiff putty with equal parts of Japan gold size, lin- 
seed oil and turpentine. This putty is made thin 
enough to be applied with a broad putty knife to 
rough places and smoothed up. When it is dry the 
rough edges can be sandpapered and the whole ivelieln 
rubbed down level. 

When a very hard drying, knifing putty is wanted, 
and one which ean be rubbed with pumice stone and 
water, it may be mixed by adding to white lead in oil 
paste enough fine dry whiting and fine pumice stone 
to make a stiff putty. When a liquid is needed a few 
drops of any hard drying or rubbing varnish or J pe 
gold size will serve the purpose. 

Swedish Putty—What is called Swedish putty is as 
by decorators when large quantities are needed for 
filling many large cracks in floors, in plaster walls, and 
for making special wall finishes. Swedish putty is 
made with varying proportions of several ingredients. 
One way to make it is to start with a bit of paint mixed 
for outside wood surfaces—a lead paint or ready mixed 
gloss paint. To this is added a bit of dry whiting, or 
dry calcimine, a lttle glue dissolved in hot water, a 
little dry color, and in some cases a bit of dry China 
clay. In some cases paperhanger’s flour paste is added: 
A composition of Swedish putty depends largely upon 
what working qualities you wish, how hard it is to 
dry and how rapidly it is supposed to dry. 

Quick-Setting Putty—On jobs which are to be puttied 
and then followed up within an hour or two with 
paint the putty may be best made by mixing a stiff 
paste with dry white lead and Japan gold size. Add 
a few drops of turpentine if a quicker drying putty 
and one with a more porous texture is wanted. 

Another way to make a quick drying putty is by 


74 INTERIOR WALL DECORATION 


mixing white lead in oil paste with dry white lead to 
a stiff putty, adding Japan gold size and floor or rub- 
bing varnish. 

Plaster of Paris Putty.—Probably more putty for fill- 
ing holes in plaster walls is made from plaster of Paris 
than from any other material. This makes good filling 
material when properly used. The plaster of Paris 
should be submerged in water. Only a small portion, 
about the size of an egg, should be lifted from the 
water with a stopping knife and kneaded in the hand 
and made ready for placing in the hole. This material 
sets rapidly and it should be put in place before it 
has set. When in place it should be smoothed over 
repeatedly with the broad knife so as to glaze the sur- 
face, making it hard and non-porous like the plaster 
itself. 

Some painters have the bad habit of lifting too much 
plaster of Paris from the water at a time and when it 
begins to set in their hand they add a little more water 
or vinegar. This should not be done. When a batch 
of plaster takes its initial set before placing it in the 
hole it should be discarded for a fresh lot taken out 
of the water. 

For mixing a knifing putty to be used on plaster 
walls some decorators prefer to take a little prepared 
calcimine or other water paints and add dry whiting 
until the proper consistency for knifing is reached. ' 
These are handy mixtures, often, and they make a 
good filling which can be rubbed down smoothly with 
sandpaper. Care should be taken to be certain that 
plaster of Paris secured for making putty is fresh, 
otherwise it will not work properly. 

Under certain conditions of temperature and ven- 
tilation plaster of Paris putty sets too rapidly for con- 
venience in handling. To overcome this some paint- 
ers add a small amount of vinegar or glue size to the 
water in which the putty is submerged, claiming that 


PREPARATION OF SURFACES v(54 


this has a tendency to slow up the setting of the putty. 
This is a questionable practice to some extent, since 
there is some possibility that vinegar or glue breaks 
the bond of the plaster and makes it too brittle. What 
appears to be a better way to slow up the setting of 
plaster of Paris putty is to add a little slaked lime. 
Ordinary lumps of building lime may be soaked in 
water which slakes it,—then it will keep indefinitely 
submerged in water. This is a handy.material to keep 
in the shop so that a small amount may be sent out 
on each job. 

Crack and Hole Filling—Assuming that the holes 
and eracks in the plaster wall have been carefully 
cut out and cleaned and the type of putty to be used 
has been selected, the next consideration is tools. 
Probably an ordinary putty knife is most often used 
for putting the putty into position in holes and cracks, 
although a broad scraping or stopping knife is really 
better. A still better tool is one made by cutting 
out a flat wood paddle shaped like a steel putty knife 
or scraper. The wood stopping knife is better because 
it does not leave marks such as follow the use of steel 
blades. 

As a rule putty will shrink some and for that rea- 
son it is customary to fill holes in two stages. The 
first filling is put in place and fills the holes entirely 
except within about 4g of an inch from the top of the 
surface. The putty should be pushed in thoroughly 
to pack the surface. Some decorators prefer to add 
a little sand to the putty for this first filling. 

When your putty has become thoroughly dry the 
second filling should be made and smoothed up care- 
fully to be level with the balance of the wall. With 
sand finished or rough walls a little fine or coarse sand. 
should be mixed with the putty for the final filling 
also. Obviously, however, no sand should be used in 
the final filling on smooth plaster walls. 


76 INTERIOR WALL DECORATION 


It is important to smooth and work over thoroughly 
the final filling in a hole or crack not only to assure 
getting a well filled and smooth job, but also to put 
a hard glaze on the putty which will be equal to the 
glaze on the balance of the plaster. When plaster 
is thoroughly glazed by troweling it is not so porous 
and absorbent and will not cause flat spots in the 
paint which result from the absorption of the oil in 
the paint. It is customary to brush over plaster of 
Paris putty fillings with water several times before 
the putty sets hard. The water will help to make a 
smooth job and to cement the putty more closely to 
the edges of the old plaster. 

Filling cracks and holes in sand finished or other 
rough finished plaster requires much more skill and 
patience than for the same operations on smooth plas- 
ter. Many decorators claim that a perfect job of fill- 
ing on rough walls cannot be done. This is not true 
when the proper methods, tools and materials are used. 
The material needed is one which sets a bit more slowly 
than straight plaster of Paris putty. It may be plas- 
ter of Paris putty to which dry whiting has been 
added; it may be Swedish putty or one of the several 
other mixtures which are suitable. Care should be 
taken to add to the second filling of putty on rough 
walls some sand which is about as coarse as that com- 
posing the wall. It is necessary that you make the 
patch look as nearly like the surrounding wall as 
possible because a smooth patch cannot be covered 
with paint and made to look like the balance of the 
wall. 

The first filling of putty should be put in place as 
usual and, like the second filling, should be placed 
carefully enough to avoid putting any of the putty 
on to the wall surrounding the hole or erack. If 
the putty gets on to the surrounding surface it simply 
fils up the rough character of the wall and makes 


PREPARATION OF SURFACES 17 


an unsightly smooth area. After carefully putting the 
second filling in place stipple it with a small bristle 
brush in order to rough it up. In some-eases a steel 
wire brush or coarse whisk-broom is the proper tool 
for stippling. The final operation is to take the clean 
brush and brush the surface all around the hole or 
crack toward the center of the filling so as to wipe 
out any excess putty which may have accumulated 
on the surface surrounding a hole. 

It is not well to sandpaper new fillings of putty on 
either smooth or rough plaster walls unless absolutely 
necessary. Sandpaper cuts off the glaze from the sur- 
face and makes a porous patch which will absorb oil 
excessively and make a light or dark spot appear on 
the finished job, unless after sandpapering a coat or 
two coats of paint have been brushed on over the 
filling. As a rule, it is possible to smooth up a patch 
sufficiently with a wood knife’ blade to make sand- 
papering unnecessary. 

A. coat of shellac and two coats of flat paint on 
top of new fillings helps to hide them on smooth plas- 
ter walls, but these coats should not be put on fillings 
in rough plaster walls. If the walls are to be painted 
a couple of very thin coats of flat paint, but no shel- 
lace, may be used on rough walls. 

For the final filling on smooth or rough walls it 
is customary among some painters to make a fine 
glazing putty by mixing dry whiting into white lead 
and oil paste until a stiff putty has been made. Then, 
a few drops of Japan drier should be added to make 
the putty work properly under the knife. Obviously, 
considerable mixing and kneading of the putty, with 
the hands, is essential to securing the proper kind of 
putty. Usually this putty mixture is made on a stone 
slab and is pounded with a mallet for thorough mix- 
ing. This mixture is also used in a little thinner con- 
sistency for filling surface scratches and scraped places 


78 INTERIOR WALL DECORATION 


on the wall. Such a mixture may be sandpapered 
lightly when it is dry. 

When large patches of plaster are inserted by a 
plasterer, using the regular lime plaster mixtures, the 
patches may constitute hot spots the causticity of 
which may cause certain colors in your paint to fade 
out quickly. The causticity of such a new surface 
may be removed by brushing on to the new plaster 
a solution made by mixing 4 lbs. of sulphate of zine 
erystals and 1 gallon of water. After such a wash 
the surface should be allowed to dry thoroughly; then 
a coat of thin shellac should be brushed on. When 
the shellac is dry one or two coats of thick flat paint 
ought to be spread onto such spots before the whole 
wall is painted. | 

Covering Small Surface Cracks.——Some old walls show 
rather numerous small cracks, cracks which are too 
small to cut out and fill with putty. These may be 
large enough to absorb oil from your paint coat and 
cause dark streaks to show up on both sides of the 
cracks. Such fine cracks can be filled and covered 
by coating them first with thin shellac then with a 
coat or two of flat paint before painting the whole 
wall. If the shellac only is used without paint your 
new coat of paint may show ‘‘shiners’’ above all the 
shellaced places. 

For the filling of surface cracks caused by furniture 
bruises and nail scratches a glazing putty is also made 
by mixing together dry whiting, warm glue size and 
plaster of Paris to make a stiff paste. Then, a little 
rubbing varnish is added until the mixture works 
smoothly under the knife. Such a putty can be put 
on to fill the cracks even above the level surface be- 
cause it can be sandpapered down smooth. Such putty 
does not set too quickly, it doesn’t swell or ‘shrink 
and may be worked out to a very thin edge when 
properly mixed. This putty dries very hard but is 


-PREPARATION OF SURFACES 79 


not used for a large filling because it sets rather 
slowly. It is a good putty for glazing over porous 
areas of the plaster which have been made by serap- 
ing or sandpapering until the old glaze on the plaster 
has disappeared. 

On some walls fine hair line or fire cracks are very 
numerous. Since they are too small to be filled indi- 
vidually the best treatment is to coat the wall all 
over with a material which will fill them up and stop 
suction from the cracks. Some painters use for this 
purpose a coat of boiled linseed oil with which about 
one-quarter turpentine has been mixed. 

If the cracks are a little larger they may be filled 
with any thick flat paint which can be put on with 
a putty knife. The pigment which has settled in the 
bottom of prepared paint cans is suitable or white 
lead thinned with a little turpentine will serve the 
purpose. This thick paint is put on to the surface 
with a putty knife; fill the cracks and then scrap 
off all excess material. 

Sometimes a glue size will fill such fine cracks sat- 
isfactorily while in other cases it is necessary to put 
on a coat of varnish size mixed as described in Chap- 
ter V. 

Filling Wall Board Joints.—With most brands of wall 
board a special mixture of putty is sold by the manu- 
facturers of the board. This should be used in pref- 
erence to other mixtures although Swedish putty, de- 
seribed in this chapter, will serve the purpose. 

With those types of wall board which have beveled 
edges the filling operation is not difficult, because a 
rather large body of putty is put on. In-the case of 
wall board which has square edges butted together 
the joints should be at least one-eighth of an inch 
open. 

When Swedish putty is used for a filling the joints 
should first be given a coat of paint and then the 


80 INTERIOR WALL DECORATION 


putty should be forced well into the cracks. The 
filling should be made with ample putty so that you 
will allow for any shrinking that may occur. When 
the putty is dry it can be sandpapered down level 
with the surface. One or two coats of thick flat paint 
on top of the filling will help to conceal the joints; 
although, of course, if the wall board has not been 
put on perfectly straight studding and has not been 
properly bridged under the picture moulding, plate 
rail, chair rail, and baseboard it is quite impossible 
to conceal the joints. When wall board has been 
properly nailed in place, when it is of a type that 
does not expand. and contract with temperature 
changes, and when thé joints have been properly filled 
they will be concealed indefinitely. 

Stains and Dviscolorations—Interior plaster walls 
sometimes show stains from water having leaked from 
the roof or the floor above, or it may be stains caused 
from water soluble aniline of colors of wall pzpers. 
Then, occasionally some old bricks are used in a wall 
which were formerly used as part of a chimney. Such 
bricks are saturated with creosote from smoke and 
this comes through in a stain on a plaster surface. 
The first treatment of stain should be a thorough 
washing to remove any surface accumulations. When 
the surface is dry one of three treatments is likely to 
be affected. Sometimes a coat of shellac or of varnish 
size will seal up the stain. Sometimes asphaltum var- 
nish thinned with turpentine to make a size will ac- 
complish the end sought. The most certain treatment 
is a coat or two of aluminum metal bronze paint. 


CHAPTER V . 
WALL SIZING MATERIALS 


The market offers many specially prepared wall size 
materials designed to serve under ordinary conditions; 
also some made for use on walls which present a sur- 
face condition which is out of the ordinary. 

The ready prepared sizes which are made by rep- 
utable manufacturers and which. are standard, adver- 
tised brands are as a rule first class materials. 

Glue Size-——The use of a glue size on top of the first 
coat of paint is quite a general practice. It stops 
suction of dry and porous spots. This is not the very 
best practice, however. Another coat of paint makes 
a better foundation than glue size and costs little 
more. 

When glue size is to be used it should never be mixed 
strong. A strong solution of glue and water will cer- 
tainly cause paint to crack and:scale off. In mixing 
the size soak first class glue in water for two or three 
hours; simply add enough water to submerge the glue. 

Next boil the glue and water, stirring it enough to 
prevent its sticking to the bottom of the pail. When 
the glue has come to a boil, add enough hot water to 
it to make it very thin. No exact proportions can be 
given, because different brands and grades of glue 
vary considerably in strength. The glue size should 
be just strong enough so that it will feel slightly sticky 

81 


$2 INTERIOR WALL DECORATION 


on your fingers after they have been dipped in and 
allowed to dry. It is much better to have your size 
too weak than too strong. 

The object in sizing is not to spread a film of glue 
over the whole surface, but simply to put on enough 
glue to fill and seal up the pores of the surface so 
as to stop suction. 

Glue size should be put on between coats of paint, 
not next to bare plaster. It is thus protected from 
moisture in the plaster. 

Varnish Size—A better size than that made from 
glue is mixed from first class interior varnish—coach 
or spar, thinned with turpentine and to which you add 
enough of the paint mixed for the finishing coat to 
offset the brown color of the varnish. 

This size should be very thin. It will stop the suc- 
tion of the wall and serve, to some extent, as a coyv- 
ering or hiding coat. The varnish size should be 
spread on after the priming coat. It should not be 
mixed too rich or it will dry with a gloss. One gallon 
of varnish and one gallon of turpentine make a size 
of about the correct consistency. 

Varnish size should not be made from the cheaper 
suction, or ceiling varnishes, nor from gloss oil or 
hard oil. These products are simply mixtures of rosin 
and benzine, usually, and they do not make a satis- 
factory foundation for paint or canvas. 

Sizes containing gloss oil may remain soft and tacky 
for quite some time; they may disfigure the paint and 
sometimes the rosin works up through the paint and 
remains tacky. Wall paper, muslin, canvas and bur- 
lap cannot be made to adhere permanently to walls 
coated with gloss oil sizes. 

There are, however, some special brands of wall 
size prepared by manufacturers which have consider- 
able merit and are satisfactory. 

Varnish sizes of any quality should not be used on 


WALL SIZING MATERIALS 83 


sand-finished or rough-stucco walls. Glue, soap and 
sugar sizes are better for these surfaces. | 

For wall board a first class varnish size is better 
than a glue size and, generally speaking, high class 
varnish size is to be preferred, because it not only stops 
suction and seals up the pores but also serves as a 
coat of size and a coat of paint together. Varnish 
size is water proof and, while it may be spread directly 
upon the plaster, it is really better to place it between 
coats of paint. 

Oil and Glue Size-—Hard finish and rough stucco in- 
terior walls are quite popular and probably always 
will be, because of their artistic merit. Such walls 
often have considerably more suction than smooth 
plaster walls. To seal up the suction on such sur- 
faces before painting a good size may be mixed as 
follows: I? 

A quantity of first class gelatine glue should be 
melted in hot water and brought to a boil. When the 
glue is about as thick as paint ready for the brush, 
add one gallon of raw linseed oil which has been pre- 
viously made hot. A little dry color may be added to 
the size to bring it around to approximately your 
finished color, being lighter preferably. 

Next cut up a bar of yellow laundry soap into thin 
slices and stir them into the hot glue and oil solution 
until they are thoroughly dissolved. This mixture 
can now be thinned with hot water to the right con- 
sistency for sizing. 

The size should be a little thinner than cold linseed 
oil and, yet, somewhat thicker than glue size. It is 
better to brush this size onto the walls while it is 
warm. The walls should be first brushed down with 
a broom to remove loose sand. 

A size mixed in this manner is water proof and will 
stop the suction of a wall sufficiently to permit finish- 
ing with two coats of paint. This size should be put 


84 INTERIOR WALL DECORATION 


on to the plaster and not between coats. Oil and glue 
size 1s not suitable for smooth plaster walls. 

Sugar Size.—A wall which has been coated with gloss 
oil size and which is to be covered with canvas, muslin, 
burlap or wall paper must be given some preliminary 
treatment. The gloss oil size can be scrubbed off, 
using strong sal soda water, hot, but this is a slow and 
tedious process. 

The common practice is to give the wall or ceiling 
a coat of paint mixed largely with turpentine to dry 
flat and tinted to suit. When the paint is dry a coat 
of sugar size puts the surface in condition to be cov- 
ered with fabrics or wall paper with reasonable assur- 
ance that the coverings will adhere to the surface. 

Sugar. size is mixed by adding dark brown sugar 
to water. Just enough sugar is put into warm water 
to make the solution slightly sticky. The strength of 
the solution should be tested by dipping the fingers 
into it and allowing them to dry. On top of this the 
paste for wall paper or canvas will gain good an- 
chorage. 


CHAPTER VI. 


PLAIN PAINTING AND ENAMELING 


Prepared Materials—For the decoration of interior 
wall surfaces a great many materials prepared ready 
for use are manufactured and there is extensive use 
today of both prepared materials and materials mixed 
by the decorator on the job. 

When use is made of one of the prepared flat wall 
paints, of which there are several excellent brands 
on the market, the best results will come only by 
conscientiously following the mixing and application 
directions issued by the manufacturer of the particu- 
lar brand of material which you are using. While 
the general composition of these materials is quite 
similar there are variations in the oil liquids, volatile 
thinners and driers as well as in the pigments which 
require slightly different working methods for the 
most advantageous use of each material. 

Flat Wall Paint.—The characteristics of this class of 
materials are that they dry without lustre, except 
for a slight sheen to be noticed from direct light re- 
flections. Such materials flow freely from the brush 
like varnish and level up to eliminate brush marks, 
laps and joints when the brushing is properly done. 
Flat wall paint sets rather rapidly and if brushed ex- 
cessively will rough-up. Also, if you attempt to re- 
brush areas which have been coated only a few min- 

85 


86 INTERIOR WALL DECORATION 


utes before there is likelihood that you will rough-up 
the film. 

The best grades of flat wall paint hide the surface 
often in a satisfactory manner with one coat, but 
usually two coats are required for the best kind of a 
finish. Some of these materials can be successfully 
washed while others are rather difficult to wash clean 
without showing streaks. 

Generally speaking, flat wall paints are made from 
lithopone and zine oxide in combination with other 
pigments and it is probable that the new pigment ti- 
tanium oxide will be used in this connection. The 
vehicle used for flat wall paints is usually an oil which 
dries flat and which is a compound of China wood 
oil, treated linseed oil, or others with similar flatting 
ability. Varnish compounds which dry flat are also 
used as the liquid portion of flat wall paints. Such 
materials are made in white and in many beautiful 
colors. 

Flat wall paints are not suitable for use on exterior 
surfaces, but may be used on any interior surface 
whether it is plaster, brick, wood, metal or one of the 
wall fabrics. 

For the purpose of indicating what constitutes a 
high class flat wall paint the following U. S. govern- 
ment specification is of interest. The materials sup- 
plied under this specification must dry dead flat; they 
must be opaque coats which will adhere to wood, 
metal and plaster and which will withstand washing 
with soap and water; they must show no materia] 
change in color on exposure to the light. 

(a) Pigment—The pigment shall consist of: 


Maximum Minimum 
Per cent Per cent 


Lithopone<.).,. % Gist ue ee eee ers 80 
ZING OXIA ee Ps wa cel chek Oe 10 : 
Tinting and extending pigments. ... 3.2 10 


Material soluble-in- water... 2.2. aye 0.8 


PLAIN PAINTING AND ENAMELING 87 


Note.—The Lithopone used must contain not less 
than 26 per cent of zine sulphide and must not darken 
on exposure. | 

(b) Liquid.—The liquid portion of the paint shall 
consist of treated drying oils or varnish, or a mix- 
ture thereof, and turpentine or volatile mineral spir- 
its, or a mixture thereof, in such proportions as to 
insure not less than 25 per cent of non-volatile vehicle. 
The non-volatile vehicle shall dry to a tough and 
elastic film. 

(ce) Paint—The paint shall be well ground, shall 
not settle badly, cake, or thicken in the container, 
shall be readily broken up with a paddle to a smooth, 
uniform paint of brushing consistency, and shall dry 
within 18 hours to a dead flat finish without streak- 
ing, running or sagging and be free from laps and 
brush marks. The color and hiding power when speci- 
fied shall be equal to those of a sample mutually agreed 
upon by buyer and seller. After drying for not less 
than five days, marks made on the painted surface 
with a soft lead pencil (No. 2 Mogul) shall be easily 
removed by washing with soap and warm water with- 
out appreciably marring the paint surface. The 
weight per gallon shall be not less than 1414 pounds. 

The paint shall consist of: 


Maximum Minimum 


F Percent Per cent 

OO ENE” oy Ado hd Oo 72 68 
Liquid (containing at least 25 percent 

Non-volatiles matter) 0. 1k ek 4 28 
ROR ee ele Gwe ee Se ee ee 1 
Coarse particles and ‘‘skins’”’ (total 

residue retained on No. 200 screen 

Me sOUmrOrieDISNIeNt) . 20: «ss + 8 os set hes 0.5 


Flat Lead Paint.—For a great many years white lead 
in oil thinned with turpentine has been used for the 
painting of interior walls largely because it makes a 
firmly anchored foundation paint film, hides the sur- 


$3 INTERIOR WALL DECORATION 


face well and constitutes a washable surface when the 
last coat contains a little oil to make a semi-flat finish. 
The last coat is usually stippled to help eliminate brush 
marks. | 

Flatting Ow.—During the last few years a product 
called flatting oil has been used with white lead ex- 
tensively in place of turpentine. An interior wall 
paint made from white lead and flatting oil makes a 
firmly anchored paint film, one which hides the sur- 
face well and is washable. 

For decorating interior walls with lower cost cal- 
cimine is, of course, a popular material which serves 
well enough as a temporary coating. Working meth- 
ods for the application of calcimine are presented in 
Chapter VII. 

Mill Whites—The decorating of interior of factory 
buildings has become very much more popular of late, 
especially in such buildings as are used for the manu- 
facture of food products. For very large industrial 
service of this character the class of materials known 
as mill white is used extensively. The composition 
of mill whites is quite different from: that of calci- 
mine and cold water paints with which the mill whites 
are commonly confused. Lithopone and zine oxide 
ground in high grade treated oils are the principal 
constituents of this paint which is waterproof and 
is designed especially to reflect a great deal of light. 
Mill whites are made which dry with a full gloss, 
with a semi-gloss or with a flat finish. Gloss mill 
whites are washable. Flat mill whites are washable 
to about the same extent as other flat wall paints. 

Enamels for Walls——Enamels are sometimes used for 
finishing of plaster walls, especially on top of canvas 
or other fabrics. Perhaps the most common use of 
enamel for walls is in those instances where the walls 
of rooms are paneled off with mouldings. Between the 
mouldings canvas is placed and an enamel finish built 


PLAIN PAINTING AND ENAMELING 89 


on top of that. Within the panels artistic wall paper 
is put on or some of the special wall finishes by the 
Tiffany mottling and blending process or stencil de- 
signs are placed. 

Mixing Flat Wall Paints—wWhite and colored paints 
in this class come prepared ready for use on plaster, 
wood, metal, brick and cement surfaces. Such paints 
contain all necessary pigments, color, oil, turpentine 
and drier. me 

To use these paints cut the top of the can out with 
a putty knife. Pour the liquid off of the top into 
a clean pot and stir the pigment in the bottom of the 
can until it is soft and well mixed. Next, pour back 
a little of the liquid into the pigment and continue 
stirring until it is absorbed. Repeat this operation 
until the paint is all mixed. Next, pour the whole 
batch from one pot into the other several times and 
stir until all pigment has dissolved in the liquid. 

Mixing White Lead Paint.—Paints for all purposes 
to be mixed in white and colors from white lead as a 
base are made ready for the brush in this manner: 

White lead comes to you in thick paste form; in 
tubes ; 1-pound, 3-pound and 5-pound cans; 1214-pound, 
25-pound, 50-pound and 100-pound steel kegs; 300- 
pound and 500-pound wood casks. It contains 8 per 
cent pure raw linseed oil and 92 per cent white lead. 
One hundred pounds of white lead paste bulks about 
2.85 gallons. 

To break up this thick paste, place the amount 
needed in a clean pot or tub (an empty 100-pound 
white lead keg is good for mixing two- or three-gallon 
batches). Now add a very little linseed oil (or tur- 
pentine) and stir it into the lead. It is important 
that you put in not over one-fourth of the oil at first; 
less is better. When the first lot of oil has disap- 
peared into the lead, add a little more and repeat 
until all the oil needed to bring the paint to stout 


90 INTERIOR WALL DECORATION 


brushing consistency has been added by thorough 
stirring with a paddle or in a machine mixer, 

With the paint in this condition, add the necessary 
turpentine (and Japan drier if raw oil is used), also 
the colors, which have been previously mixed with oil 
and strained. 

It is important that this method be followed, as it 
is the only economical way to mix the paint correctly. 
If too much oil is put in at first, little gobs of lead 
paste will swim around in the oil and dodge your 
mixing paddle for some time. The proper time to mix 
paint is when it is in thin paste form. If this is well 
done the balance of the oil can be easily and quickly 
stirred into the batch. 

The addition of a handful of fine pumice stone 
F. F. F. to a gallon of wall paint mixed for the first 
coat on smooth walls makes the second coat cover better. 
A slightly rough surface is thus produced and holds 
more pigment on the surface. 

The mixing of other paste paints can be accom- 
plished to best advantage in exactly the same way. 

Dry white lead is not used by painters and deco- 
rators for mixing paints. It is first ground through 
stone mills with oil by the manufacturers. 

Mixing Lead and Zinc Paint.—Various combinations 
of white pigments are used, as well as white lead, as 
the basic material for white and lght-tinted paints. 
In some instances a leaded zine combination made by 
manufacturers is used, and in others painters and dec- 
orators mix together white lead paste and zine oxide 
paste, both ground in linseed oil. 

The mixing and thinning with oil or turpentine is 
best accomplished by exactly the same method as was 
described for breaking up white lead paste. Break 
up the two pigments separately and when each is 
nearly thin enough for brushing mix the two together 
by pouring one into the other and then boxing the 


PLAIN PAINTING AND ENAMELING 91 


whole batch; that is, by pouring the paint from one 
pot to another several times. . } 

The turpentine, drier and colors (the latter being 
first mixed thin separately with oil or turpentine) 
should next be added, if colored paint is to be mixed; 
if not, simply add the final quantity of oil (or turpen- 
tine for flat paint) needed to thin the paint to brush- 
ing consistency. | 

The proportions used when mixing lead and zine 
paint vary according to the purposes for which the 
paint is to be used. For interior paints the question 
of durability doesn’t enter, when mixing enamels, 
enamel undercoats and paints; but for exterior house 
paints which are subjected to temperature changes, 
sun, wind, rain, hail and frost, too much zine may 
make a paint film so hard and inelastic that it will 
erack and scale off. White paint used on the sea 
coast and subjected to moist, salt air continually is 
especially in need of 15 or 20 per cent of zine to 85 
or 80 per cent of white lead. 

When mixing these two basic white pigments it 1s 
important to remember that zine, being finer than 
white lead, bulks much more per hundred pounds and 
requires more oil to thin it to brushing consistency. 
On an average, zinc paste is ground with 15 to 19 
per cent of linseed oil to 85 or 81 percent of pigment; 
while white lead is ground with 8 per cent of oil to 
92 per cent of pigment. One hundred pounds of pure 
zine oxide bulks about 4% gallons, while 100 pounds 
of white lead bulks a little more than 234 gallons. 

Zine oxide is marketed in steel kegs and pails of 
various sizes—12l4-pound, 25-pound, 50-pound, 100- 
pound—and in small tubes for artists and decorators. 

Consequently, care must be shown in mixing quan- 
tities of white lead and zine oxide pastes ground in 
oil, if correct proportions are to be maintained. 

Below is a tabulation which shows the quantities of 


92 INTERIOR WALL DECORATION 


each pigment, in pounds of paste, to mix together to 
make 100 pounds of combination paste of any given 
proportions. In other words, the dry pigment of such 
a paint mixture will analyze as per the proportions 
shown in this table: 


Use Zinc Oxide Use White Lead 


Proportions Desired in Oil in Oil 
20.0% Zinc....80.0% Lead 21 lbs. 78 lbs. 
22d ES Carey eT al hs) ie Boe Tove 
25.0 “ Gc! oe PACES ane 
27.5 BS BPA a 2 ORs yale 
30.0 ‘ ear ELEGY, a 43) teas yay oe 
S20D v + OT.8 i ofa Ca 45 
rane!) “ 7600.0 ots 3G es ED ee 
> tao Se .62.5 a 3 Oe ea Peat 
40.0 es ..60.0 By 4} ** 5S 
42.5 oy i a . 44 ‘ yo 
45.0 #e «200.0 A AT a: be ts 
AT7T.5 ms <Oa.0 . 4 Ome boo 
50.0 i .. 50.0 hy BiB’ 48 * 
52.5 ie BP: of ahs A 54 * 45 ost 
55.0 c. « » 45.0 oe fl ae 43ns 
5io - 242.5 4) Do 40° 
60.0 is .. 40.0 * Glas oo i 
62.5 a eee fle es 64 * a 
65.0 is soos Ss Chin] bio ok 
67.5 a REARS oY 69.0% 30 
TO.0 2 Soe f Teo 28 * 
‘aco ED mL ne ATF 3 one 25 
75.0 eR erie ve (Meee vps es 
if Gast ik er e-bay © aa Lore Aan. 
80.0 ee ee OL sa Seer ise 


Straining Paints and Colors.—There are several ad- 
vantages to be gained by straining your paints and 
colors, no matter how well they are mixed. Straining 
paint through fly screen or, better yet, through a finer 
mesh screen or cheesecloth breaks up the particles of 
pigments more completely and incorporates them with’ 
the oil or other liquid; straining removes sediment, 
small particles of dried paint skin and foreign sub- 
stances. By straining you mix paint which not only 
is cleaner and will make a finer textured film, but 


PLAIN PAINTING AND ENAMELING 93 


you are thus making a paint which hides the surface 
better and works out more smoothly under the brush. 

Straining of paint is not only an advantage when 
it is first mixed, but high-class painters and decorators 
will strain the same batch of paint two or three times 


Plate 3.—Paint Strainers. 


a day when they are doing fine enamel, undercoatings 
or other particular work. You may start with a per- 
fectly clean paint pot and strain into it a batch of 
paint which is clean and fine. Then you may take a 
brush which has been made absolutely free from dust, 
loose hairs and old paint skins; but after you have 
used this brush in transferring the paint to wood trim 
or other surfaces for an hour or two you will find 


94 INTERIOR WALL DECORATION 


that the brush has picked up more or less dust and 
erit particles from corners and crevices and carried 
this foreign material into your pot of paint. In var- 
nishing and enamel work it is highly important also 
that you strain the material often. 

The straining may be done by using one of the man- 
ufactured strainers shown on Plate 3, or you may tie 
a double thickness of cheesecloth on top of a paint 
bucket as tightly as possible with twine; then pour 
the paint, varnish or enamel to be strained on to this 
cloth and stir it with a putty knife or mixing paddle 
until it has passed through tthe cloth. 

Drawing the Ow for Dead Flat Finish.—tIn past years 
considerable white lead thinned only with turpentine 
has been used for mixing undercoats for white enam- 
els, for painting woodwork in flat white and colors, 
and for painting interior walls. For some of this work 
the lead was first mixed with a little benzine and al- 
lowed to stand over night. In the morning it was 
found that the 8 per cent of linseed oil with which the 
lead paste was ground was extracted largely by the 
benzine and was floating on the top. All of the liquid 
was then poured off and the lead was mixed with fresh 
turpentine and produced a dead flat paint. 

Special preparations of zine and lithopone are now 
made for enamel undercoats and for flat finished walls. 
Also special liquids, called flatting oils, are mixed with 
a lead paste. When lead is not used for the walls one 
of the many brands of special flat wall paints on the 
market is used. 

Types of Wall Brushes—There are certain prefer- 
ences among decorators for one type of brush or other, 
but these are based largely upon what a man has 
become accustomed to. As to size, brushes 4 inches 
and 414 inches wide are used for most walls, except 
when a calcimine brush is needed. 

Plate 4 shows a high class flat wall brush with a 


PLAIN PAINTING AND ENAMELING 95 


beaver-tail handle, bound with a metal ferrule and 
made of Chinese bristles. Made in half-inch sizes 
from 38 inches to 5 inches with bristles 44% to 4% 
inches long depending upon width. The 4-inch brush 


Plate 4.—Flat Wall Brush, Metal-Bound. 


comes with bristles. 454 inches long. It is vuleanized 
in rubber or equally hard cement compositions for 
best service. A good brush for spreading all kinds 
of paints on any kind of large surfaces, but it is not 


Paterreuenae 


Hl 


Plate 5.—Leather-Bound Stucco Brush. 


wise to use it for varnishing. It is made also with 
handles of pointed or peerless shape. 

Plate 5 shows a leather bound stucco flat wall brush 
in common use. It is made with a rather thin handle 
which is more comfortable for some men to use. 


96 INTERIOR WALL DECORATION 


Leather bound brushes of high quality contain more 
bristle stock than metal bound brushes. Made in 14 
inch sizes from 8 inches to 5 inches wide. Some deco- 
rators prefer very long bristles in this brush, but 
others do not. A brush 4 inches wide is probably 
satisfactory to most mechanics when the bristles are 
434 inches long. It is suitable for the application of 
all paints to large surfaces, but not for varnishing. 

This brush is preferred by many to have a cement 
setting and the bristles should extend through the 
entire depth of the leather strap. What are called 
solid center or plugged stucco brushes are not as good 
as those made with full thickness of bristles. Chinese 
bristles are best for these brushes. 

Correct Brushing Methods.—Paints mixed to dry flat 
or semi-flat on interior wall surfaces have a different 
action under the brush than oil paints mixed for out- 
side surfaces. This is true whether your paint is one 
of the prepared flat paints or a painter-mixed paint 
from white lead and turpentine or flatting oil. As 
a matter of fact, close observation will soon convince 
one that each of these wall painting materials has 
peculiarities of its own which must be taken into con- 
sideration when the finest of results are to be expected. 

Then, there are peculiarities also of surface, tem- 
perature and ventilation conditions which influence 
the rapidity of drying and consequently the care nec- 
essary in the brushing of the paint. A skillful brush 
hand knows how to manipulate his paint exactly to 
fit these varying conditions. He is master of the situ- 
ation and knows how to apply his paint to avoid laps, 
joints, brush marks, streaks and ‘‘shiners,’’ as the 
oloss spots are called, as well as ‘‘holidays’’ which are 
the places on the surface skipped by the coat of paint 
and careless brushing. 

Oil paint mixed for exterior surfaces does not dry 
for a matter of hours and consequently it can be 


PLAIN PAINTING AND ENAMELING 97 


brushed over and touched up some time after the paint- 
ing has been done if any defects are found. On the 
other hand, with interior flat wall paints there is no 
surer way to spoil the appearance of the job than to 
90 back and attempt to brush the surface a few min- 
utes after it has been covered with paint, because 
this kind of paint sets rapidly. 

Whenever there is any control of the lighting of 
the room it will pay to be particular to have good 
light when brushing on wall paints. Bright sunlight 
is, of course, the best for this work. Particular care 
must be taken in painting ceilings if an absolutely 
uniform color is to be produced. | 

Wall paints mixed to dry flat and semi-flat set so 
quickly that the surface becomes quite sticky a few 
minutes after brushing on the paint. Consequently, 
it is well to mix your paint as thin as possible and 
yet have it cover well. Having done this flow on the 
paint in as full a manner as possible, as you would 
enamel or varnish. In other words, it is well to flow 
on as much paint as the surface will hold without 
showing runs and sags after the paint has been laid 
off and smoothed up with a brush. The reason for 
this is that thin paint flows together and levels up 
better than thick paint and it is this flowing and 
leveling which eliminates brush marks, joints and laps. 
It takes quite a little experience .to know how far you 
can go in thinning the paint and yet have it hide the 
surface well and avoid runs, sags and wrinkles. 

The procedure which has proven most practical in 
painting a wall may be described in this manner: 
Your paint pot should be not more than half or two- 
thirds full. The brush commonly used is a 4-inch flat 
wall brush of the ordinary coarse hog bristles. Some- 
times a 414-inch brush is used. The brush should be 
dipped into the paint only about an inch or two and 
wiped out on the mixing paddle or the edge of the 


98 INTERIOR WALL DECORATION 


pot to remove surplus paint. This should be repeated 
two or three times while working the brush into the 
paint at first. 

As a rule the brushing should be started in the 
upper left hand corner of the wall and continued to 
work from left to right and from the ceiling to the 
floor. A stretch of new paint is carried down from 


Plate 6.—The Correct Way to Hold a Brush. 


the picture moulding to the baseboard only about a 
foot or two wide, depending upon the size of the 
brush and how rapidly the material sets. 

It is commonly considered that an up and down 
stroke is preferable to cross strokes from left to right. 
The up stroke will lay more paint on to the surface 
than the down stroke. Also you will find that it is 


PLAIN PAINTING AND ENAMELING 99 


easier to stroke lightly coming up than down. It 
would not do, however, to use only up strokes; both 
are necessary. Care should be taken to avoid extend- 
ing the fingers down below the metal ferrule on the 
brush and also to avoid pressing too hard,—‘‘riding’’ 
the brush as the painters call it. This latter habit 
causes the paint to leak over the handle of the brush 
and where the fingers are allowed to extend too far 
down the side of the brush too much pressure is ex- 
erted on the center bristles and they wear excessively. 
Then, you have a brush which is shaped like a fish 
tail and which will not do the best of work. 

Plate 6 shows the correct way to hold a brush. Be- 
gin painting with a stretch of paint about 1 foot wide. 
Dip your brush into the pot only about. 1 inch and 
slap out the excess material on the side of the pot. 
Every brush is designed to carry a limited amount 
of paint. When too much paint is loaded into the 
brush some of it is bound to run off over the handle 
or to spatter on the floor. Carry the brush full of 
paint to the surface and coat in an area about 1 foot 
square quickly and roughly aiming simply to transfer 
the paint to the surface. After that go over it again 
immediately with light strokes of the bristle ends to 
distribute the paint better and lay it off smoothly. 
Finish by using semi-circular up and down strokes. 
Before leaving this area all brushing should be done 
that will ever be required. ; 

Dip your brush again into the paint and earry it 
to the surface to coat in another foot or two below 
the area just finished. Brush this on roughly, then 
lay it off and smooth up the surface just as you did 
the first area being careful to join up the second and 
first areas carefully to avoid having the joint show. 
Continue brushing in this manner until the stretch 
is brought down to the baseboard. Then begin a new 
stretch at the top of the wall. 


100 INTERIOR WALL DECORATION . 


The object in carrying down only a narrow stretch 
of paint is that by so doing you will reach the bot- 
tom sooner and start the second stretch before the 
right hand edge of the first stretch becomes very dry. 
In other words, your aim should be to so brush the 
paint that both edges will be wet all the time. This 


Plate 6A.—Another Correct Way to Hold a Brush. 


method should especially be observed when painting 
around a window. The wall area above the window 
will naturally be coated in first. Then, it is necessary 
to bring down a narrow stretch of paint on each side 
of the window at the same time. Then, you must 
work first on one side and then the other—a brushful 


PLAIN PAINTING AND ENAMELING 101 


on the left side and a brushful on the right side until 
you reach the bottom. You will soon learn to work 
in this manner to keep all edges wet and that is very 
necessary if bad joints and laps are to be avoided on 
the finished job. 

You should have no concern about the small brush 


Plate 6B.—Working the Brush into the Paint. 


marks which show in the wet paint. These, as a rule, 
will disappear as the paint flows together and levels 
up while drying. If, however, you attempt to go back 
to an area finished a few minutes before to smooth 
up places which show brush marks, you will rough 


102 INTERIOR WALL DECORATION 


up the surface and make it look worse than if you 
had allowed it to stand. 

As to the amount of brushing permissible, you must 
learn this from the particular material you are using. 
Only enough brushing should be done to have the 
surface properly covered and the paint evenly dis- 
tributed. Excessive brushing will rough-up some 
paints by causing the pigment to pile up. A good 
brush hand soon learns to flow his paint on, lay it off 
and let it strictly alone. This is important because 
flat paints dry without gloss only when an excess of 
pigment is left on the surface. Too much brushing 
brings the oil to the surface and causes a glossy finish. 

When joining-up a new stretch with the one done 
previously, it is desirable to accomplish the brushing 
with a very light touch and by making every stroke 
slightly semi-circular rather than straight up and 
down. .The straight up and down strokes are best 
for transferring the paint quickly and roughly to the 
surface but the semi-circular strokes are essential to 
laying off and smoothing up the finish. 

On large ceilings it is advisable to use two or three 
men brushing at the same time in order to have the 
second stretch come along while the edge of the first 
stretch is wet. 

If the edge of one stretch does set a little too much 
before the second stretch comes along to join up with 
it you can often make a good joint by using the brush 
on the set edge in sort of a wiggle stroke manner; 
then, of course, the paint should be laid off with a 
semi-circular stroke. In this manner the wet paint 
of the new stretch can be lightly spread over the 
partly set edge of the old stretch. By a wiggle stroke 
is meant laying the brush nearly flat on its side and 
while pulling it along the surface it should be made 
to wiggle or wave a little on the first stroke or two. 

While brushing paint on to a ceiling it is difficult 


PLAIN PAINTING AND ENAMELING 103 


at times to avoid having the brush leak down over 
the handle and spatter on the floor, walls or wood trim. 
This may be due to the use of a poorly constructed 
brush which does not have the flag ends of the bristles 
properly distributed or which may not contain first 
class bristles. Leaking, on the other hand, may also 
be due to loading the brush with too much paint. 
Every brush has a certain capacity and there is noth- 
ing gained by dipping it too deeply into the paint 
and picking up too big a load. 

As a rule, the leaking of a brush is Pracoahice to the 
manner in abel it has been cared for or is being 
handled. If a brush is kept in an oil bath and is 
not made thoroughly clean and dry before dipping 
it into the paint for use on a ceiling it may leak. The 
best of brushes will sometimes leak and it is difficult 
to understand why. 

Some painters habitually coat-in ceilings, walls, and 
wood trim without spattering any paint to speak of, 
while others are exeessively careless about this. When 
a painter is not thorough and careful enough to avoid 
spattering the least he can do is to see that every- 
thing is carefully covered with drop cloths and to see 
that he has always clean wiping cloths with which to 
remove spatters of paint before they dry. Working in 
this manner will do much to overcome the bad impres- 
sion made in former years which has given painters 
the reputation of being mussy and disorderly workmen. 

Stippling Paint—Paint which is mixed to dry flat 
or semi-flat, particularly that which is composed of 
white lead and turpentine or flatting oil, is commonly 
stippled on the last coat only in order to eliminate 
bursh marks and give an even texture to the whole 
surface. Stippling is not really necessary when flat- 
ting oil is used but it gives an attractive texture. 

As a rule, when stippling is done one man works 
spreading on the paint while another follows imme- 


104 INTERIOR WALL DECORATION 


diately with a stippling brush and pounds the surface 
of the wet paint evenly as indicated by Plate 7. The 
stippling brush most commonly used is that shown in 
the illustration and it comes in two sizes. One size 
is about three inches wide and eight inches long; the 
other size is 314 inches by 95 inches. The bristles 


Plate 7.—The Stippling Brush and How It Is Used. 


in both brushes’ are very long, usually from 314 to 
4 inches. 

When stippling small areas which cannot be reached 
by the large brush a small, clean duster brush can be 
used. 

Paint which is to be stippled is usually mixed rather 
stout for the second or stippling coat. In using white 
lead paint the last coat is mixed, as a rule, with about 
half boiled linseed oil and half turpentine and of a 
rather thick brushing consistency. When an unusu- 


105 


PLAIN PAINTING AND ENAMELING 


Plate 7A.—Spray 


Gun Painting Plain Surfaces, 


? 


PLAIN PAINTING AND ENAMELING 107 


ally rough finish is wanted add a little more Japan 
drier and after the paint is thoroughly mixed throw 
in a hand full or two of dry plaster of Paris to each 
gallon of paint before it is brushed on to the surface. 
Then mix it fairly well. . 

When a coat of paint is to be stippled it is not nec- 
essary to take as much care in brushing or laying it 
off because the stippling brush will distribute the paint 
evenly and at the same time eliminate the brush marks, 
laps and joints. Extreme care must be taken, how- 
ever, to avoid skipping any places with the stippling 
brush and also to avoid stippling the same place twice 
to a certain extent. 

Gloss and Flat Patches——Oceasionally when a wall 
has been painted with material mixed to dry flat gloss 
spots or shiners will appear, due to too much brushing 
of the paint in places or to the fact that shellac was 
brushed onto fillings or seraped places in the wall 
without taking the precaution of also brushing on a 
coat or two of flat paint to shellaced spots. 

Such gloss spots can often be removed by wiping 
over them with a cloth soaked in sour milk. There 
is Just enough acid in the milk to cut the gloss. No 
doubt the milk leaves a very thin film over the spots 
wiped. 

Sometimes gloss spots can be removed after the 
paint has set but before it is dry by brushing on lightly 
cold water to the spots. The practice of wiping over 
such spots with paraffin wax dissolved in turpentine 
is sometimes indulged in, but if the gloss spots are 
very large or numerous the use of wax is not to be 
recommended. Later on if paint is put on over the 
wax there may be trouble with sealing. 

A coat of starch or of buttermilk brushed on to the 
whole wall is sometimes used both to remove gloss 
spots and to leave a film on the surface which will 
protect the paint from dust accumulations. 


108 INTERIOR WALL DECORATION 


Starch-Coating Walls.—This is a practice which de- 
Serves much wider use. It has been customary for 
many years among high class decorators to finish fine 
wall decorations with a coat of starch which protects 
them from dust and smoke accumulations to the extent 
that when the walls become soiled they may readily 
be washed with clean water. Then, it will be found 
that. the dust and smoke accumulations have lodged 
on the starch coat and that the paint coat after wash- 
ing is as fresh and clean as when first put on. 

Buttermilk is sometimes used in place of starch to 
serve this same purpose and both of these coatings 
are transparent to the extent that you would not 
know that they were present if they are properly 
applied. The starching of the walls adds a more uni- 
form appearance also by removing the gloss spots. 

Sometimes an entire wall surface finishes up with 
more gloss than was wanted and in that event a starch 
coat will tone it down, giving a flatter appearance. 

The starching of walls is an inexpensive treatment 
which deserves wider use and it should be remem- 
bered also that a well painted wall may be starched a 
second time when it has been washed clean and care- 
fully. 

The starch used for this purpose is the ordinary 
laundry starch used in homes. A handful of starch 
should be put into a pail with just enough cold water 
to dissolve all of it. When the starch is all in solution 
pour on to it a little boiling water until the starch 
becomes thick and of a jellylike consistency. The 
starch will be perfectly clear when it is mixed in this 
manner and the next step is to pour cold water into 
the mixture until it is about as thick as milk. Your 
starch coat is then ready to brush on to the wall with 
an ordinary flat wall brush. 

Some decorators prefer to add just a pinch of dry 
color to the starch to tint it slightly like the wall 


PLAIN PAINTING AND ENAMELING 109 


color. The dry color should be mixed in to the starch 
before the final thinning and should be thoroughly 
stirred. . | 

Unless the above method is followed the mixing of 
a starch coat may give trouble. When cold water only 
is used the starch is not cooked and it turns to a 
white powder on the wall;—then it is not transparent. 

Should your starch coat creep and crawl on a wall 
having quite a little gloss you should first wipe down 
the wall with a cloth dampened with benzine.: Such 
a treatment is better than to add a bit of vinegar to 
the starch as is customary among some decorators. 

It is unwise to use a starch coat on walls or a ceil- 
ing, in particular, which have been painted with only 
one coat over an old surface of rather dark color. 
When you have finished painting the surface may 
look well and evenly covered but you may be sure 
that there are thin places, laps-and streaks in the coat- 
ing. When a starch coat is used on such a surface 
it emphasizes all of these thin places like laps and 
joints and causes them to show up prominently. 
Starching on a two- or three-coat job and especially 
upon fine jobs of decorating in plain colors or Tiffany 
mottling and blending. is well worth what little it 
costs. | 

The starch coat should be stippled with an ordinary 
stippling brush the same as a paint coat. 


” 


STANDARD FORMULAS FOR WHITE PAINT 
NEW PLASTER WALLS 


If the walls have not stood for several weeks or 
months, and painting is to be done immediately, a 
wash should be brushed on to neutralize any hot lime 
spots which might burn the life out of oil or cause the 
paint to discolor. The wash should be mixed by dis- 
solving about 4 pounds of sulphate of zine crystals in 


110 INTERIOR WALL DECORATION 


1 gallon of water. When the surface is dry brush off 
any powder or dust that may be loose on the surface. 


Furst Coat 


100 lbs. of pure white lead 

5 gal. pure boiled linseed oil 
1 gal. pure turpentine 

Makes about 834 gal. of paint 


Size Coat 


In order to save coats of paint it is customary to 
seal up the surface with a size which should be placed 
on top of the first coat of paint and not on the bare 
wall. This is especially important where glue size is 
used. If glue size, or other water soluble size, is used 
on top of the plaster instead of between coats of paint, 
dampness in the walls later may cause the paint to 
seale off. 

It is not wise to seal up the pores of a plaster wall 
by placing on it immediately a size of gloss oil, hard 
oil, suction varnish or shellac, because this may make 
an unstable foundation. It may stand a while, but 
when the wall has been painted two or three times, 
scaling may result. Furthermore, should you want to 
cover the walls in later years with canvas, or other 
wall fabrics, the fabric will pull off of the surface, 
bringing the coats of paint with it. When the first 
coat is oil paint you secure an anchorage in the surface 
which is very important. The directions for mixing 
size coats will be found in Chapter V. 


Second Coat 


100 lbs. pure white lead 

11% gal. pure boiled linseed oil 
1% gal. pure turpentine 
Tinting colors 

Makes about 6 gal. of paint — 


PLAIN PAINTING AND ENAMELING 111 


Finishing Coat—Flat 
100 lbs. pure white lead 
2% to 3 gal. pure turpentine | 
Tinting colors 
Makes about 51% to 6 gal. of paint 
Finishing . Coat—F lat 


100 lbs. pure white lead 

2 to 3 gal. of flatting oil 
Finishing Coat—Semi-Flat 

100 lbs. pure white lead 

114 to 2 gal. pure turpentine 

34 gal. white enamel varnish, or 

1 gal. pure boiled linseed oil 

Tinting colors 

Makes 5 to 5% gal. of paint 
Finishing Coat—Semi-F lat 

100 lbs. pure white lead 

34 gal. white enamel varnish 

114% to 2 gal. flatting oil 

Fimshing Coat—Gloss 

100 lbs. pure white lead 

3% to 4% gal. pure boiled linseed oil 

1 pt. pure turpentine 

Tinting colors 

Makes 614 to 71% gal: of paint. 


If the new wall has been covered with canvas, use 
the above formulas also. 


OLD PLASTER WALLS 


Mix your paint for old plaster walls, and canvas 
covered walls which have been painted before, the 
same as specified for new plaster walls, omitting the 
first coat and the size coat. 


112 INTERIOR WALL DECORATION 


Use of Platting Ow.—lIn place of linseed oil, turpen- 
tine and mixing varnish, a flatting oil may be used 
with white lead and zine for flat and semi-gloss fin- 
ishes. This paint is suitable for interior wood surfaces 
as well as for plaster and cement. 


First Coat 


Mix the same as previously specified 
for new or old wood, interior trim. 


Second or Finishing Coat—F lat 


100 lbs. of white lead 
2 to 8 gal. flatting oil 
Makes 484 to 534 gal. of paint 


Finishing Coats—Semi-Gloss 


- 100 lbs. of white lead 
34 gal light mixing varnish 
1% to 2 gal. flatting “oul 
Makes from 5 to 51% gal. of paint 


ENAMEL ON PLASTER AND CANVAS 


These coats should be the same on new and old 
plaster and canvas as would be commonly used for 
an ordinary painted surface. Very little oil should 
be used in the first coat and the second coat should 
dry flat or semi-flat. Following are the proportions 
commonly used and the working methods needed for 
this class of work. 


First Coat 


100 lbs. pure white lead 

3 to 4 gal. pure boiled linseed oil 
2 gal. pure turpentine — 

Makes 734 to 8%4 gal. of paint 


PLAIN PAINTING AND ENAMELING 113 


Allow at least twenty-four hours for drying : putty 
nail holes; sandpaper when the pully a is dry and wipe 
off dust Pir the surface. 


Second Coat 


100 lbs. pure white lead 

114 to 2 gal. boiled linseed oil 
1% gal. turpentine 

Makes about 6 gal. of paint 


Or the second coat may be mixed this way: 


100 lbs. pure white lead 
2 to 3 gal. of flatting oil 


The second coat is to be rubbed down fanaa with 
fine sandpaper after it has been allowed to dry at least 
24 hours. Wipe the surface clean to remove dust. 


Third Coat 


50 lbs. pure white lead 

50 lbs. pure zine oxide 

3 to 3% gal. turpentine 

1 qt. white enamel 

Makes about 7 to 714 gal. of paint 


Or, the third coat may be mixed this way: 


50 Ibs. pure white lead 
50 lbs. pure zine oxide 
3 to 4 gal. of flatting oil 


Allow the third coat to dry twenty-four hours or 
longer. Sandpaper very lightly with fine paper or 
steel. wool and wash up with a cloth dampened with 
benzine to remove dust. 


PF ourth Coat 


First class prepared white enamel should be used 
as it comes to you in the manufacturer’s can, or 


114 INTERIOR WALL DECORATION 


thinned slightly with 1 pint of turpentine per gallon 
of enamel. The turpentine should be well mixed into 
the enamel, using an absolutely clean paddle. The 
room should be warm and the enamel not colder than 
70 degrees, for proper. brushing qualities. At least 
48 hours should be allowed for drying and a longer 
time is of considerable advantage. This coat should 
be rubbed very lightly and evenly with No. 00 sand- 
paper, steel wool, or a wad of horse hair for rubbing 
will be sufficient if the surface is very clean and 
smooth. Wash up, being especially particular to make 
everything clean and ready for the final coat. 


Lufth Coat 


High class prepared enamel should be used for this 
coat, without thinning. It should be not colder than 
70 degrees temperature. Flow the enamel on with a 
full body, but being careful to lay it off so that there 
will be no runs, sags or wrinkles. It is better to brush 
it out too thin than to put it on too thick and to have 
it run and sag. You cannot spread enamel out like 
oil paint. It must be flowed on. Diligence and watch- 
fulness, as well as extreme care in brushing, are es- 
sential. Once an area has been coated with enamel 
and the material laid off, you should not go back to 
it or you will cause a roughing or piling up of the 
material. Enamel will level itself and flow together, 
so there need be no worry about brush marks. 

The enamel used may be of the kind that drys with 
a full gloss or you ean purchase what is called egg- 
shell gloss, or satin finish, enamel to give a semi-flat 
hand rubbed appearance. 

Enamel on Old Plaster or Canvas—The same meth- 
ods as were described for new work are suitable for 
old paint surfaces which are in good condition but 
simply soiled. The old surface should be washed and 


PLAIN PAINTING AND ENAMELING 115 


then begin the enamel method with the second coat 
omitting the first coat and the size coat. 

Enamel on Flat Wall Paint—One kind of enamel 
job commonly done is built up after a two-coat job 
of prepared flat wall paint. The third coat is mixed 
from one-half flat wall paint and one-half high grade 
zine enamel. The finishing coat should be posed 
only of first class zine enamel. 

Flat, Semi-Flat and Gloss——The prepared rae E of 
high see are commonly made to dry either with a 
semi-flat mat finish or with a full gloss. While it is 
possible to rub a gloss enamel with pumice stone and 
water on a felt pad or a brush to produce a hand 
rubbed effect, this is not commonly done as it is more 
convenient to purchase material made to dry semi-flat. 

Colored Enamels.—Many of the high class enamels 
are now prepared in several colors and it is better 
to purchase such materials already colored if the shade 
wanted can be found. If you want to. mix a particular 
color it can be done by tinting high class zine enamel 
with Japan colors. The Japan colors should be thinned 
first with turpentine and carefully strained. Then, 
they may be added to the enamel and they should 
be thoroughly mixed. There are some enamels of the 
pyrolin and other rapid drying lacquer types which 
cannot be colored except by the manufacturers. 


’ 


" 


CHAPTER VII- 


CALCIMINE METHODS AND MATERIALS © 


Since the old time method of whitewashing walls the 
use of calcimine has improved considerably, the meth- 
ods have changed and materials have been much im- 
proved. Some years ago calcimine, or what was called 
distemper paint, was used in fresco decorating. For 
many years calcimine was used principally for deco- 
rating ceilings while the side walls were covered with 
wall paper or oil paint. It was customary also to use 
only white calcimine at first; later colors were intro- 
duced. 

For a number of years painters mixed their own eal- 
cimine from whiting, dry colors, glue and water. That 
kind of material is seldom used today. The prepared 
ealeimines of the cold water or hot water types are 
much more uniform in quality and color; they are more 
convenient to use. , 

The hot water types of calcimine must be mixed with 
boiling water and they are most extensively used, but 
it is sometimes inconvenient to secure hot water for 
this purpose in new buildings. The ecalcimine after 
being mixed must be allowed to cool off before it is 
used. | 

Calcimine of the cold water type is also extensively 
used today because of the time saved in preparing it for 
the brush. Very cold water should not be used for 

417 ; 


118 INTERIOR WALL DECORATION 


the mixing, however, to secure the best results. Water 
which has had the chill taken off is best. 

Calcimine Pigments.—The basic pigment used in mak- 
ing caleimine today is usually dry bolted whiting. In ~ 
former years dry zine was used as the basic pigment 
in the very high class work. The fine grades of whit- 
ing are most suitable for mixing caleimine—egrades des- 
ignated as ‘‘extra gilders’’ and **‘X XXX gilders’’ are 
in common use. If the whiting used is too coarse the 
ealcimine will not hide the surface well. 

Whiting is found on the market in dry lump form 
and also in a form which is called bolted. Bolted whit- 
ing is the same material after the lumps have been 
erushed and the pigment has been sifted through very 
fine silk bolting cloth into a dry powder form. 

Binders for Calcimine.—The best material with which 
to bind the calcimine pigments together in common 
use is white glue. This comes in flake form and in 
the form of coarsely ground particles. 

Manufacturers of prepared calcimine use not only 
glue binders but casein. 

Colors for Calcimine.—In order to tint white ealci- 
mine to various colors finely ground dry tinting colors 
are added to the whiting pigment bases. Oil colors are 
not suitable, of course. Distemper colors may be used 
for this purpose since they are simply dry colors ground 
in glue and water to a paste form. The distemper col- 
ors are used for fresco water painting and for grain- 
ing. The dry colors commonly used for ecaleimine pur- 
pose and which are lsted in the supply catalogs are 
the following: 

BLACK 
Graphite 
English Powdered Drop Black 
American Powdered Drop Black 
Swedish Black 
1-lb. and 25-lb. packages and barrels 


CALCIMINE METHODS AND MATERIALS 
LAMP BLACK 


Coach Painters’, in 1-lb. papers 
Germantown, in 1-lb. papers 
Germantown, in 1%-lb. papers 
Germantown, 10 14-lb. papers 

1-lb. and 40-lb. packages and barrels 


GREENS 


Union Chrome, medium or dark 
No. 3 Chrome, medium or dark 
Paris Green 

Bottle Green 

Bronze Green 

Olive Green 

1-lb., 25-lb. and 100-lb. packages 


VENETIAN REDS 


York Venetian Red 

Craydon English Venetian Red 
Regent English Venetian Red 
1-lb. and 100-lb. packages 


REDS 


Indian Red, Super 

Oxide of Red 

Permanent Red 

English Rose Pink 
Knglsh Rose Lake 
Turkey Red, Light, No. 2 
Turkey Red, Deep, No. 3 


English Vermilion, in 30-lb. bags, Light and Dark 


Agricultural Vermilion 
American Vermilion 
Tusean Red 

1-lb. and 25-lb. packages 


119 


120 INTERIOR WALL DECORATION 


LAKES, ETC. 
Carmine, No. 40 
Geranium, AA 
Vienna 
No. 16 Lake 
l-ounce and pound packages 


YELLOWS 


C. P. Chrome Yellow, Light, Medium or Dark 
Genuine Chrome, Light, Medium or Dark 

Duteh Pink 

1-lb., 25-Ib. and 100-lb. packages 


YELLOW OCHRES 


Chrome Ochre, Light or Dark 

Imported Golden Ochre 

Imported French Ochre 

Rochelle Ochre 

1-lb., 25-lb. and 100-lb. packages and barrels 


BROWNS 
Vandyke Brown 
Raw or Burnt Turkey Umber 
Raw or Burnt American Umber 
Raw or Burnt Italian Sienna 
Raw or Burnt American Sienna 
Bismarek Brown (red) 
1-lb. and 25-lb. packages 
WHITES 


Extra Gilders’ Whiting, lump or bolted 
Zine, French Green Filler 

Dental Plaster Paris 

1-lb., 25-lb. and 100-lb. packages and barrels 


BLUES 
Celestial Blue 
Cobalt Blue 


CALCIMINE METHODS AND MATERIALS 121 


S. P. Prussian Blue 
Soluble Blue 
Ultramarine Blue, HL. B. 
1-lb. and 25-lb. indie 


Calcimine Mixing—When using calcimine made by 
manufacturers ready for use the directions on the pack- 
age should be followed closely. Such materials con- 
tain all ingredients and you simply have to add water. | 

Calcimine is usually mixed in galvanized pails rather | 
than wood because wood absorbs glue. The decompo- 
sition of the glue fouls the pails in the summer weather. 
It is essential that you have clean pails and brushes 
for this work. 

Although very few painters mix their own calcimine 
today there is some advantage in knowing how it should 
be done. ¥s 

All surfaces are not alike in color, texture and de- 
gree of suction, nor are the factors of temperature 
and ventilation the same. For these reasons it is nec- 
essary to temper calcimine mixtures to fit the exact 
condition under which you are working. The painter- 
mixed calcimine is mixed by putting dry whiting into 
a metal pail and covering it with water of normal tem- 
perature to soak over night. This is very desirable 
but it is not absolutely necessary to allow the whiting 
to soak so long. The wet mass of whiting should be 
well stirred until the lumps are smoothly broken up. 
The dry color ought to be soaked in a separate pail 
in water. 

The white glue to be used for the binder should be 
soaked in cold water so that it will be reduced to a soft 
jelly consistency. Because there are variations in dif- 
ferent brands of glue it is difficult to specify the amount — 
of glue needed, yet it is important that just the right 
amount be used. When the best quality of white glue 
is used about 114 ounces to each pound of dry whiting 


122 INTERIOR WALL DECORATION 


makes about the right strength. It is better to use 
high quality glue in a small quantity than to use larger 
amounts of cheap glue. 

When your whiting, dry color and glue have all been 
soaked in water pour off the water which has not been 
absorbed by the glue. The glue in this condition should 
be about of the consistency of what we sometimes call 
trembling jelly. Add enough boiling hot water to thin 
the glue so it will pour freely. If the glue is too thick 
and strong the colors in the calcimine may dry with 
a gloss. If the glue is too weak it will not bind the 
caleimine sufficiently to prevent it from dusting off. 

Glue which has been mixed for any length of time 
takes on an unpleasant odor so it is advisable to mix 
it fresh each day. If you add a few drops of carbolie 
acid or oil of cloves fermentation of the glue will be 
retarded and the unpleasant odor reduced. 

The dry color paste in water should be mixed with | 
the whiting in water until you have made the tint 
wanted. The color looks quite different when dry than 
it does in the pail wet. There is also some change in 
color caused by the addition of the glue. Your color 
should be tinted by mixing up a little whiting with the 
tinting color and glue and spreading the mixture on 
paper or wood pieces which may be dried quickly by 
holding over a lamp, stove or radiator. » 

When you have mixed the tinting color into the whit- 
ing and have determined the color wanted the glue 
should be thinned with boiling hot water and added to 
the pigments while it is still hot. Only enough hot 
water should be added to the glue to make it pour 
freely and then it should be thoroughly stirred into the 
pigments before the final thinning with hot water. 

In this connection it should be remembered that it 
is easier to mix dry pigment and a liquid quickly by 
placing the liquid in the pail and adding the dry pig- 
ment a little at the time while the mixture is being 


CALCIMINE METHODS AND MATERIALS 123 


stirred vigorously. Where a little liquid is added to 
a quantity of dry pigment lumps are formed which 
Swim around in the liquid and are difficult to break 
up with a paddle. 

It is necessary to-mix calcimine to rather a thick 
brushing consistency in order to make it hide the sur- 
face completely in one coat. With this material one 
thick coat is much better than two thin ones because 
it is necessary to pile up a considerable volume of pig- 
ment on the surface in order to hide it and avoid brush. 
marks. In other words, your method with ecalcimine 
is opposite to that needed for the mixing of oil paint. 
_ There appears to be no way to determine how thick 
to mix ecalcimine for a given surface except by mixing 
and trying a brush full at a time on the surface until 
just the right consistency has been reached. 

Calcumine for Large Surfaces.—The mixing and tem- 
pering of calcimine for large ceilings and walls requires 
more skill than for small areas. 

One way to mix calcimine for the purpose of slowing 
down the setting and gaining better brushing qualities 
on large surfaces is to temper it as follows: 

Add a package of cornstarch, such as is put up for 
table use, to 2 gallons of cold water. Stir the mixture 
while pouring the cornstarch into the water and until 
all lumps are broken up and the starch is completely 
dissolved. 

Next, dissolve 2 tablespoonfuls of concentrated pow- 
dered lye in half a cup of cold water. Stir this until 
the bottom of the cup feels hot. 

Now pour the lye solution into the starch solution 
and stir the mixture until brown spots begin to form 
and then continue stirring rapidly for about half a 
minute or a little more. 

The heat from the lye will cook the starch thoroughly 
in about half a minute without the use of fire. 

Mix your calecimine about as thick as the above starch 


124 INTERIOR WALL DECORATION 


solution and then pour the starch solution into the cal- 
eimine. 

_ Having the starch and calecimine mixed together, add 
enough warm water to make the mixture the correct 
consistency for the particular job you are about to do. 
Test the mixture by brushing it out on the wall to see 
if it covers properly and wait until it dries before 
deciding that it is right. Calcimine can be used thin- 
ner on sand-finished and other rough walls than upon 
smooth surfaces. 

You cannot succeed by adding dry lye to the starch 
mixture. The lye must be dissolved in cold water and 
the above described method should be followed carefully, 
step by step, to assure success. 

Brushing Calcomine—For the application of ealci- 
mine to the average wall surface a large brush is needed. 
It is essential that this material should be put on to 
cover well and hide the surface with the least possible 
brushing and so a wide brush is needed. Such a brush 
carries a large amount of material to a surface and be- 
cause of its width—6, 7 or 8 inches—it covers consider- 
able surface with each stroke. 5 

Plate 8 illustrates the two styles of calcimine brushes 
in common use. The ordinary flat caleimine brush of 
high quality is usually made of Russian bristles he- 
cause only that kind of bristle is stiff enough for such 
a brush. Russian bristle is larger and stronger than 
Chinese bristle; it also grows with a broader flag end 
which naturally carries more calcimine. Russian bris- 
tle retains its stiffness in water better. There really 
ought to be no preference for color of bristles since 
the color has no bearing on stiffness, durability or the 
size of flag ends. Some brushes are made with yellow 
bristles, some with gray and some with gray bordered 
or encased with yellow. The yellow bristles are more 
expensive but no more valuable than gray. 

As to length of bristles in calcimine brushes it is well 


CALCIMINE METHODS AND MATERIALS 125 


to secure such as are not too long. For a brush 7 
inches wide bristles 514 inches long are correct. Brushes 
having longer bristles are apt to sacrifice stiffness and 
strength of bristles for length and that is a poor choice. 

The best types of flat and Dutch calcimine brushes 
are vulcanized in rubber or compositions which are not 
solvent in water. The flat brushes are bound with a 
galvanized iron ferrule. — 


! 


Tinie mm 


VET mi 


fee ee eases 


a re 


I" fiir © wll 


| iv 


Plate 8.—A Dutch Calcimine oes and an an Ordinary Calcimine 
rush, 


= | 


Dutch types of calcimine brushes are not so generally 
used as the flat but are much better for decorating 
rough plaster surfaces. They have greater capacity for 
earrying and holding material. 

These brushes, too, should be made of heavy Russian 
bristles. Sorted mee from such bristles mixed with 
Chinese bristles are not so good. 

Dutch brushes are made with bristles cathered in 


126 INTERIOR WALL DECORATION 


knots and also with bristles set continuously. The best 
brushes have bristles vulcanized in rubber or set in 
waterproof compositions. The common sizes are ap- 
proximately these :—23,” x 714” ; 2-3/16” x T14” ; 134” x 
7144”. A good length for bristles is 5 inches. 

Calcimine may be rapidly applied to any surface with 
one of the first class spray guns. A saving of labor 
cost will also result as well as a first class job. 

The point of beginning to calcimine a room is usually 
a ceiling and, of course, a corner is the place to start 
after seeing to it that as much light as possible floods 
the surface. 

Dip the brush into the calecimine only about two 
inches and carry the material to the surface. Take 
care not to overload the brush to avoid spattering or 
having the material run down the brush handle. 

Coat-in a strip of wall only about a foot or two 
wide and carry this stretch across the short way of the 
ceiling from wall to wall before beginning a new stretch. 
Of course, it is practical to coat-in a wider stretch when 
the calcimine mixture is just right to suit temperature 
and ventilation, 

When too wide a stretch is carried across a ceiling 
or down a wall the edge becomes dry before you get 
back to the point of beginning to start the second 
stretch. Then the joint between the first and second 
stretches is likely to show a streak. Some workmen 
successfully carry a much wider stretch across. When 
an edge gets too dry, coat it lightly and deftly with 
clear water taking care not to lift the dry calcimine - 
with the brush. Put on the water before the next 
stretch of calcimine. 

Each stretch should lap each preceding stretch well 
to join the two and brush with the tip end of the bris- 
tles lightly to finish. No more caleimine should be put 
on to the laps than elsewhere. In fact, the same amount 
of material should be put on the whole surface, as 


CALCIMINE METHODS AND MATERIALS 127 


nearly as possible to gain the same thickness of film 
on the whole wall. 

Uneeasing vigilance is essential to securing a 200d 
job of brushing and a uniformly covered surface. Care- 
less brushing causes the showing of laps, joints and 
thick and thin places. 

The brushing procedure is the same for coating-in 
walls as for ceilings and it is well to begin in the cor- 
ner next to windows and work away from rather than 
toward the light. The stretch should begin at the top. 
ofthe wall on the left side; that will cause you to work 
from left to right. It is easier to carry a wide stretch 
down a side wall than on a eeiling. Ceilings are hot 
as a rule, even when the room below is moderate in 
temperature. Walls are usually broken up with win- 
dows and doors and that makes for easier brushing to 
avoid laps and joints. 

When a calcimine job has been completed the drying 
should be hastened as much as possible by ample ven- 
tilation. A spotty appearance is likely to result from 
slow drying calecimine. During wet, cool weather and 
when a room is damp from any other cause a little 
artificial heat in the room is advisable. 

Drafts ought to be avoided while brushing on eal- 
cimine. Drafts cause the coating to dry in streaks. 
But open the windows and doors when the brushing 
has been completed. Weather gonditions influence the 
success of caleimine jobs considerably. When possible, 
choose a bright day not too warm for the work. 

Calcimine on New Walls.—Even a first class job of 
ealeimining cannot overcome the inequalities of unpre- 
pared surfaces. If all jobs of plastering. were evenly 
troweled to produce a smooth glaze uniformly distrib- 
uted over the whole wall area there would be less for 
the decorator to be concerned about. 

But jobs must be taken as they come. Scme are 
very hard glazed in spots from troweling, while in 


128 INTERIOR WALL DECORATION 


other spots they are soft, porous and quite absorbent of 
liquids. Then on some jobs the plaster is uniformly 
mixed in large batches, while on others the mixing is 
indifferently done in small batches. Soft spots soak 
up the liquids from paints and produce dead flat spots. 
Hard glazed spots allow the liquids to remain on the 
surface with a gloss. 

Careless mixing of plaster also causes the appearance 
of ‘‘hot’’ spots—accumulations of lime not completely 
slaked. These burn the life out of paint binders and 
cause some colors to fade quickly in spots. A wash 
over the whole wall made up of 4 pounds of sulphate 
of zine in one gallon of water will neutralize such hot 
spots. The wash should be brushed on and allowed 
to dry before any further treatments is given the walls. 

Some walls are quite smooth and others vary con- 
siderably in degree of roughness and texture. It is 
easier to produce a first class job on rough surfaces. 
The projections catch and hold more pigment than 
smooth surfaces do. 

All these inequalities of surfaces have a bearing on 
the appearance of the finished job and the more eare 
that is taken within reasonable limits to equalize dif- 
ferences and remedy defects the better for final appear- 
ances. 

Caleimine may be brushed directly on to some sur- 
faces without any undercoats. This is sometimes done 
to save expense. As a rule, however, unevenness of 
suction makes it necessary to lay on a coat of size be- 
fore the calcimine is spread and after all preparatory 
work on eracks, holes and rough places. 

The sizes commonly used are gloss oil made quite 
thin with benzine or turpentine. Hard oil or suction 
varnish are substantially the same as gloss oil. The 
size should be only thick enough, however, to dry with 
a gloss. Only very.dry walls should be coated with 


CALCIMINE METHODS AND MATERIALS 129 


such varnish sizes. Glue size is better when walls are 
damp. 

Sometimes walls are so smooth and olasshke that 
they are very difficult to hide with calcimine. Then a 
httle dry plaster of Paris when mixed with the gloss 
oil size—about a handful to the gallon—gives the size 

a ‘“‘tooth’’ or sufficient roughness to permit the ealci- 
mine to take hold. 

For the mixing of sizes see Chapter V. 

When the finest kind of calcimine job is. to be done 
it is essential that a coat of oil paint be first spread 
onto the surface and given time to dry. The paint 
should be mixed to dry flat and tinted to the color of 
the caleimine, approximately. No size coat is needed 
over the paint as a rule. 

Usually one coat of calcimine is sufficient to hide 
the surface on new work. Should one thick coat fail 
to cover and give a uniform appearance a second coat 
mixed thin may be spread by a skillful brush hand. 
The second coat must be deftly spread to avoid lifting 
the first coat on the brush, especially if the first coat 
is not strongly bound with glue. 

When a wash of water, in which a little alum has 
been dissolved, is brushed on just ahead of the second 
eoat it often prevents the lifting of the first coat. 

Should the first coat be lifted and disfigured by the 
attempt to brush on a second coat, there’s nothing to 
do but wash off all calcimine and take a fresh start. 

Calcimine on Old Walls.—On these walls which have 
been calecimined before it is necessary to wash off the 
old coating as per Chapter IV. 

There is no need to size-coat the walls again if they 
were originally sized with gloss oil or any other size 
which is not removed by the water. After the wash- 
ing the new calecimine may be immediately brushed on 
to the surface, assuming that all cracks and holes have 
been repaired. 


130 INTERIOR WALL DECORATION 


If glue size was used at first it may be necessary 
to coat the surface again with this or other size. 

An old surface which was painted when last decorated 
and which is to be caleimined requires no other treat- 
ment as a rule than washing and repairing cracks and 
holes. <A little warm water with soda will remove 
the grease and smoke accumulations so the new calci- 
mine coat can take hold. On some jobs it is necessary 
to spread on a glue size over the paint before calcimin- 
ing if the old paint is not in a firm and smooth con- 
dition. 

What is called ‘‘topping over’’ is sometimes at- 
tempted; that is, to spread a coat of new calcimine 
over old ealcimine which is in fair condition, but soiled, 
and without washing off the old calcimine. 

This is possible only when the old ealcimine is not 
considerably soiled, when it was well bound together 
with glue and when the new color is not greatly dif- 
ferent from the old (it may be darker). Even then 
none but a very good workman can succeed. Often the 
brush will lift the old calcimine when you are attempt- 
ing to spread the new. To spread water with a little 
alum in it just ahead of the calecimine coat will some- 
times prevent this lifting. When the old calcimine is 
rather dirty the new coat simply smears the dirt around 
in streaks. — 

Everything considered it is unwise to attempt ‘‘top- 
ping over,’’ even for low priced jobs. You might suc- 
ceed, but if you run into trouble more time and labor 
cost will have been expended than if the old caleimine 
had been washed off in the first place. 

Stippling on Calcumine.—Just asoil paint coats may 
be stippled so, too, may calcimine be finished. Two men 
are needed, one to brush on and one to handle the stip- 
pling brush to follow immediately while the surface is 
wet. A wall is so rapidly coated with the large cal- 


CALCIMINE METHODS AND MATERIALS 131 


cimine brush that one man brushing can usually keep 
two men with stippling brushes busy. 

The stippling of calecimine is done substantially by the 
same method as was described for oil paint in Chap- 
ter VI. : 

Sponge stipple finishes are given in Chapter XII. 


: X 
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CHAPTER VIII 


RADIATOR PAINTING AND DECORATING 


Consideration of this work is given here because radi- 

ators are usually decorated today to match the walls of 
the room, and often with the same materials as are 
used on the walls. 
Cleaning Radiators—Accumulations of sand, rust 
and dirt must first be removed. For this purpose steel 
wire brushes are most convenient tools. Various shapes 
and styles of wire brushes are used, the principal shapes 
are shown in Plate 9. | 

Suitable Materials—For many years it has been the 
custom to coat radiators with gold and aluminum bronze. 
And at times these two bronze colors were mixed to- 
gether or other bronze colors were used. At first bronzes | 
were probably used for decorative effect; later a theory 
was advanced which set forth as a fact that radiators 
coated with bronze, a metallic pigment,—radiated more 
heat than when decorated with other materials. 

The latest tests made at the University of Michigan 
appear to indicate, however, that bronze coats on radi- 
ators reduce their ability to give off heat by about 25 
per cent, as compared to radiators coated with prepared 
flat wall paints, lead paints, enamels and Japans. Such 
radiators as were not painted and those coated with 
these materials, other than bronzes, showed about the 
same radiating efficiency. . 

133 


134 INTERIOR WALL DECORATION 


The results of these tests are important since they 
indicate that the area of radiating surface in a room 
may be increased 25 per cent simply by decorating 
radiators with some paint other than bronze. 

In these tests it was found also that the greatest heat- 


isl ———ovoeo———_ __—_—_——— se ——— 


INT 


mT 


Plate 9.—Steel Wire Brushes for Radiator Cleaning. 


ing efficiency was secured when the last coat was white» 
zine paint. 

Glazing, Mottling and Blending.—Radiators are most 
often painted today the same color as the walls, but 
often on high class jobs they are given a further deco- 
rative treatment called glazing. 

The ground coats for a glazed job are put on the 


RADIATOR PAINTING AND DECORATING 135 


same as for plain painting. They must have a flat sur- 
face; that is, dry without gloss. The ground may be 
flat paint or bronze of any color. Ordinary bronzing 
liquids are used with the dry bronze powder. 

When the ground coats are dry coat the surface with 


Plate 10.—New Radiator Partly Cleaned for Painting. 


a glazing color. Any of the transparent or semi-trans- 
parent colors are suitable—such colors as raw and burnt 
umber, raw and burnt sienna, Prussian blue, ultrama- 
rine bine. chrome green, Wehbe te brown, Driten pink, 
rose lake and many others. 

The glaze color should be thinned to brushing con- 


136 INTERIOR WALL DECORATION 


sistency with about one-fourth boiled linseed oil to three. 
fourths turpentine; or a flatting oil may be used for 
thinning. 

The color is spread thin with a brush and is not sup- 
posed to hide the surface. The effect wanted is that 


Plate 10A.—Radiator with One Flat Coat of Paint on It. 


of having the ground color predominate with a thin 
sheen of glazing color over it. 

After brushing the color over the whole surface, al- 
low it to set two or three minutes, then begin to. stipple 
the surface with a dry wad of cheese cloth. Wipe the 
color off of the high places where there is a decorative 


RADIATOR PAINTING AND DECORATIN 137 


design cast into the metal. Also after stippling all 
of the glaze coat wipe off streaks on the center of broad 
surfaces, having the darker glaze color on one or both 
sides as it was left in the depressions of ornamented 


Plate 10B.—The Job Glazed and Wiped Out for Antique Finish. 


surfaces. This gives a pleasing antique effect. Plate 
10B illustrates a radiator decorated with flat pat and 


then glazed and wiped out. 
Some decorators prefer to use red lead thinned with 


138 INTERIOR WALL DECORATION 


about one-quarter linseed oil and three-quarters turpen- 
tine for the first coat on radiators as on other metal 
surfaces. Then over this, a flat paint or bronze coats 
and glaze coats are spread. 

When a smooth enamel job in white or colors ig to 
be done on radiators it is customary to first-coat with 
red lead or one of the heat resisting prepared paints. 
Over this the enamel job is done as on any other surface 
and as described in Chapter VI. It should be remem- 
bered that any white enamel will turn yellow when used 
on radiators. -If the heat is.turned on moderately and 
eradually the first few times it will bake the enamel 
and retard the yellowing. When radiators are allowed 
to get too hot while the enamel is fresh it will cause 
sweating and perhaps blistering. 


139 


RADIATOR PAINTING AND DECORATING 


Plate 10C.—-Painting a Radiator with a Spray Gun. 


CHAPTER IX 


STAINING ROUGH PLASTER 


With the greater use of rough finished plasters has 
erown also the custom of staining such surfaces. Smooth 
finished plaster is not stained. 

Rough plaster is commonly finished when new with 
only a stain coat. In other instances a glue or oil 
size is spread on and a coat or two of oil paint to dry 
flat is also applied before the stain. 

Materials Needed.—Whether the stain is to be put 
on over unfinished rough plaster or after such surfaces 
have been given ground coats the stains to be used are 
the same. 

A stain is needed which will not strike in and dry 
too rapidly to allow for nice wiping, mottling and blend- 
ing. Any of the prepared stains of the oil type are 
suitable and for large jobs especially satisfactory. The 
water stains made from dry. aniline powders are not 
so easy to handle on these rough surfaces as water stains 
made from dry pigment tinting colors, glue and water 
or from distemper colors and water. When such stain 
is used over a surface which has a bit of gloss or is 
greasy it may run and fail to attach itself to the wall. 
Then the addition of a little vinegar, soda or alcohol 
will overcome the difficulty. 

Stains made from ordinary tinting colors ground in 
oil and thinned with about one-fourth oil and three- 

141 


142 INTERIOR WALL DECORATION 


fourths benzine are commonly used for staining plaster. 

One of the English practices is the use of asphaltum 
(black Japan varnish) for making stains for these sur- 
faces. The asphaltum is thinned with benzine and tint- 
ing colors ground in oil are added. 

A stain for rough walls to give an antique effect is 
often made by mixing up a very thin ecalcimine. It 
is brushed on and wiped out in places to give a clouded 
appearance. 

Still another stain which gives a very satisfactory 
and economical finish is made from dry colors, a bit of 
soda or lye, boiling water and a little pitch pine or 
dry rosin for the binder. This stain covers and hides 
the surface in one coat. When raw sienna is the color 
used in the stain a very rich effect is gained on rough 
plaster. 

Wiping Out High Lights.—Stain coats on plaster are 
always wiped over in places to give a mottled or clouded 
effect. The wiping is done with a wad of cloth or sponge 
in such a way as to give an artistic unevenness like the 
play of hght and shadow on the wall. 


CHAPTER X 


TIFFANY GLAZING, MOTTLING AND BLENDING 


There is in evidence today what might be termed a 
renaissance of color. After a period of several years of 
popularity plain, flat colors on walls are gradually giv- 
ing place to more colorful treatments. Blends of sev- 
eral colors and rough textures of various patterns have 
the ability not only to afford more artistic backgrounds 
for furnishings but also to sustain interest for a much 
longer time. They afford color, texture and pattern 
in a restrained, moderate degree which adds a subtle 
charm to all decorations when judiciously handled by 
the decorator. 

The one disadvantage of these artistic finishes is the 
tendency of the less experienced decorators to be in- 
temperate in their use of bright colors in large areas. 
Too often they forget that walls are not the principal 
decorative features of a room but only the background; 
that neither the colors, pattern or texture of walls 
should be strong enough to draw attention to them- 
selves. 

Tlowever, when decorators once understand that color- 
ful, patterned and textured decorations must be corre- 
lated with the decorative plan of the room as a whole 
and use them in that manner, they constitute remark- 
ably beautiful and artistic decorative means in the hands 
of capable craftsmen. 

143 


144 INTERIOR WALL DECORATION 


Perhaps, the greatest virtue of the glazing, mottling 
and blending process is its versatility. It is capable of 
being manipulated to produce wall color and texture 
effects to harmonize with all ideas of fitness. No mat- 
ter what the character of furnishings or architecture 
wall decoration can be produced by this process to fit 
the need. Nor does it matter whether simple or elabo- 
rate, subdued or bizarre, conventional or novelty treat- 
ments are called for the glazing process can be manipu- 
lated to supply just the right color effect for the pur- 
pose. : 

And it is well to keep in mind that certain wall ecol- 
orings and decorative effects can only be secured by 
the glazing, mottling and blending process. 

Flat monotones on walls often become tiresome. Re- 
lief comes from painting the walls, which are really the 
background for furnishings, in variations of colors to 
give the interesting, mellow effects of light and shadow. 
This is precisely what the artist painter does in making 
backgrounds for his pictures. 

Then there are many other instances where only glazed 
and blended colors can be used to produce the color 
effect needed. Suppose a bright, colorful yellow wall 
is needed to carry out the color scheme of a room effec- 
tively. If you mix a bright yellow opaque paint and 
coat the walls with it the effect will be so harsh and 
erude as to absolutely dominate the room, and unpleas- 
antly, too. But, if you coat the walls in flat ivory white 
and glaze over with yellow lake or cadmium yellow in 
a mottled, blended treatment, you secure the brilliant 
yellow wanted in clouded areas but the wall color as a 
whole is restrained and harmonizes with the furnishings. 

In a similar manner a peacock blue mixed in opaque 
paint covering a fairly large wall is quite impossible 
of harmony with the whole room. But mix a light 
ground coat opaque and flat by tinting zine white with 


TIFFANY GLAZING, MOTTLING, BLENDING 145 


ultramarine blue. Brush it on and let it dry. Then 
- glaze over it with emerald green and you gain the color- 
ful effect without crude, harsh and monotonous effects. 
It is the transparency of glaze coats as well as the 
clouded mottled effect of light and shadow which con- 
tribute such beauty of glazing. 

The Effect Wanted.—Glazing may be described as the 
application of a coat of color or several colors which 
are transparent to a wall, wood trim, furniture or other 
surface. Literally glazing means to skim over a surface 
with a very thin coat of some material. Among deco- 
rators it usually means the use of transparent, not 
opaque, colors spread on a surface and stippled, wiped 
out or blended. It is the process called scumbling by 
English decorators. And, of course, a surface can be 
and sometimes is glazed over with opaque colors, espe- 
cially when producing gray mottled finishes. 

Where Glazing Is Used.—The popularity of this style 
of decorating is growing with rémarkable rapidity. The 
modern home offers an excellent opportunity to deco- 
rate two or three rooms in Tiffany, so a considerable 
amount of business is to be had in every locality. Wall 
olazing is an appropriate finish in decorating the fol- 
lowing rooms in residences and public buildings: 


Apartment Buildings Chureh Auditoriums 


Living Room Hotel Lobby 
Dining Room Cafes 

Hallway Theater Foyers 
Den or Library. Court Houses 
Music Room School Rooms 
Retail Shops and Stores Lodge Halls 
Bed Rooms Bank Buildings 
Tea Rooms 


Kinds of Surfaces to Decorate.—Glazing may be done 
over any surface that can be successfully painted to 


146 INTERIOR WALL DECORATION 


give a solid ground of uniform color and density. Be- 
low is listed the surfaces commonly glazed: 

Plaster Walls: Smooth hard finish, sand finish, rough 
textured, stucco:: 

Fabric Walls: Covered with canvas, muslin, burlap 
ox oil cloth. 

Wall Board: Smooth or rough textures. 

Wall Paper: To tone down strong colors and pat- 
terns and to alter the color to harmonize with 
furnishings. : 

Materials Used—Glazing, mottling and blending can 
be done with good quality tinting colors ground in oil, 
such as are put up in 1-lb. cans and which are clear 
and semi-transparent. Poor colors are muddy and lack 
tinting strength. Tabulated below is a list of colors 
needed: 

Browns: Raw and Burnt Umber, Raw and Burnt 

Sienna, Vandyke Brown. | 

Reds: American Vermilion, Rose Pink, Rose Lake, 
Turkey Red Lake. 

Yellow: Yellow Lake, Dutch Pink, Orange Chrome. 
Do not use Ochre. 

Greens: Chrome, medium, light, dark; Verdigris. 

Blue: Prussian, Ultramarine, Cobalt. 

Black: Lamp and Ivory Black. 

White: Zine Oxide. 

For very fine work decorators use colors that are 
of higher quality, being more transparent and ground 
finer in oil of lighter color, and from the highest grade 
of pigments. These colors are put up in tubes about 
114 x5 inches and cost more than ordinary tinting col- 
ors. A much greater variety of colors can be had in 
tubes, but the house tinting colors named above are 
satisfactory for some work. 

Decorators’ Glaze Colors—For high class glazing, 
mottling, blending, Tiffany and other special wall fin- 
ishes, colors are needed which are not alone brilliant 


147 


TIFFANY GLAZING, MOTTLING, BLENDING 


Plate 11.—Tools Used for Tiffany Glazing, M 


ottling 


and Blending. 


= 


ae ee 


TIFFANY GLAZING, MOTTLING, BLENDING 149 


and clear, but also more transparent. These are called 
glaze colors. The following lst of such colors is quite 
complete. They are ground in oil and put up in tubes 
and one-pound cans. 


YELLOW 
Brown Pink . Yellow Lake, Light 
Gamboge Yellow Lake, Deep 
Italian Pink Royal Golden Lake 
Indian Yellow Raw Sienna 
Orange Lake 
GREEN 
Alizarine Green, Light Malachite Green 
Alizarine Green, Deep Sap Green 
Blue-Green Vert Emeraude 
Hmerald Green -- Verdigris 
Green Lake, Permanent 
BLUE 
Cobalt Blue Steel Blue 
Chinese Blue Verditer Blue 
Italian Blue Ultramarine Blue 
3 RED 
Alizarine Crimson Permanent Turkey Red 
Alizarine Lake Permanent Vermilion, Light 
Carmine No. 40 Permanent Vermilion, Deep 
' Florentine Lake Rose Madder. 
French Nakaret Carmine Scarlet Lake 
Geranium Lake, Bluish Vienna Rose Lake 


Geranium Lake, Yellowish Asphaltum 
_ Permanent Crimson Lake 


PURPLE 
Deep Purple, extra Heliotrope 
Royal Purple Magenta 


Other Materials Used Are.—Linseed oil, raw or boiled ; 
turpentine, benzine, cornstarch, Japan drier. 

Tools Used.—The brushes needed as shown on Plate 
il: 


150 INTERIOR WALL DECORATION 


1 Flat Wall Brush, 4-inch 
1 Sash Brush, flat, 2-inch, for each glazing color 
1 Stippling Brush 
1 Large Sponge 
Cheese Cloth, several yards 
Newspapers 
Burlap 
Rope Ends 
Clean Pots 
Wiping Rags 
Mixing Paddles, one for each color 


Preparation of the Surface-—Before any decorative 
work of this character is started the walls must be thor- 
oughly dry. The surface should be prepared as per 
Chapter IV. 

Ground Coats.—For high class decorations the sur- 
face and ground coats must be perfect. The surface 
must be dry and free from suction spots. 

Two coats of paint which dry flat are usually required 
to secure a uniform surface, and a coat of glue size, 
varnish size or a prepared size between coats of paint 
is worth all it costs. These coats should be put on as 
per directions in Chapters III, V and VI. The ‘last 
coat of paint on smooth wall surfaces should be stippled. 

The ground coats should dry thoroughly before any 
glazing is done. 

Where small areas such as panels in dining rooms, 
theaters and cafes are to be glazed and an especially 
clear and bright metallic appearance is wanted make 
your second flat ground coat by thinning aluminum, 
gold, copper or other color of bronze powder with var- 
nish cut with benzine to the consistency of linseed. 
Ordinary bronzing liquid is also suitable for mixing 
with the bronze powder. 

When the bronze coat is dry coat it over with a thin 


TIFFANY GLAZING, MOTTLING, BLENDING 151 


eoat of bleached or white shellac to keep the bronze 
from rubbing up. 

From this point on the glazing process is the same 
as for painted grounds. 

Stencil or Pounce Outline—When the ground coat 
is dry the outline for any stencil design or freehand 
decorations should be put on. Any color may be used 
for this but raw umber thinned with turpentine and a 
little linseed oil is usually used for stencil outlines. 

Distemper or water graining color—raw umber—is 
best when rapid drying is essential to permit following 
up immediately with the glaze colors. 

It is customary among some decorators to put on the 
outline for conventional and classic designs after the 
glaze coat is on and dry, using paper pounce patterns 
for tracing the outlines. 

Glazing Liquids.—To permit the colors to be spread 
over the surface and nicely blended, stippled or mottled 
without striking into and drying on the surface too 
quickly, a glazing liquid is used. It is a clear trans- 
parent liquid which will dry without gloss and dry 
soon enough to prevent the colors from running. 

There are various ways to mix glazing liquids. One 
formula reads: 


TZ, boiled linseed oil 
22 turpentine 


Another formula commonly used is: 


1 part boiled linseed oil 
1 part benzine 
2 parts turpentine 


One of the flatting oils made for mixing with white 
lead makes a good glazing liquid and some manufactur- 
ers make a liquid especially for glazing. 

When the glazing is to be done on hard, smooth fin- 


152 INTERIOR WALL DECORATION 


ished walls about one pound of cornstarch should be 
mixed in with each gallon of glazing liquid. This will 
prevent the color and liquid from running. A little 
very fine dry whiting is sometimes used for this purpose. 
The cornstarch is best and is especially needed when 
old fatty color is used. It is not needed for glazing on 
rough surfaces. 

The glazing lquid must be tempered in the mixing 
exactly to fit the temperature and ventilation of the 
room. The more ventilation the faster the glazing liquid 
will dry. In hot, well ventilated rooms use raw instead 
of boiled linseed oil and no Japan drier. The amount 
of oil in the liquid may also be increased, but not 
enough to cause it to dry with a gloss. An electric fan 
in the room speeds the drying greatly. When the sur- 
face has a gloss less oil and more turpentine is needed 
in the glazing liquid. 

To Mix Glazing Colors—A clean pot should be used 
for each of the glazing colors. Then the paste color 
should be thinned a very lttle with some of the glazing 
liquid. Thin it only enough to permit straining through 
fly screen or other strainer into the clean pot. If the 
wall to be glazed has a gloss finish thin the glazing 
colors with turpentine only and also use less oil in the 
glazing liquid. 

Simple Two-Color Glazing.—The ground color of paint 
or bronze described heretofore is one of the colors. It 
often is ivory white, cream, light gray or pure white. 
The darker the ground coat the darker the whole color 
scheme will be. For pure yellow glazes a white ground 
is needed; likewise white is best for a very light blue 
glaze finish. 

The second color is a transparent glaze or stain to 
be put on after the ground color is dry. To illustrate: 
suppose the ground color is ivory white, flat and opaque, 
giving a uniformly covered, stippled surface. Suppose 
the finished color wanted is a Spanish leather brown. 


TIFFANY GLAZING, MOTTLING, BLENDING 153 


The glaze color, then, would be Vandyke brown, or 
Vandyke brown and burnt umber mixed. 

Before applying the second or glazing color, coat a 
section of the wall about 6 feet wide and from picture 
mould to base-board with clear glazing liquid without 
color, using a four-inch wall brush or calcimine brush 
to spread it out thin. Do not coat too large a surface, 
as it may set too rapidly to permit of nice blending. 
Glaze a small surface at a time to begin with and do 
not cut a straight edge where you leave off in the center 
of a large panel or space, but rather leave an irregular 
edge which can more easily be matched up with the 
next section of color. 

Plan your work to complete one whole panel from 
door casing to window or from casing to corner before 
you let the glaze dry. Take advantage of the construc- 
tion of the room in laying out your work so that you 
will have a stopping place that can readily be matched 
up when you begin again next day. It is sometimes 
advisable to have two or three men blending on a large 
stretch. 

When the first stretch has been coated in with glaz- 
ing liquid, and immediately while the laquid is wet, dip 
a clean brush into the pot of Vandyke brown which 
had previously been mixed to a semi-paste form. Pick 
up a very little of the color on the tip of the brush 
and brush it on to the surface in small patches here 
and there. Do this in what the artists call a carefully 
careless manner. Use the brush in a circular or spiral 
manner and do not use straight, regular brush strokes 
as in ordinary painting. Do not cover the whole sur- 
face,—just spot it here and there as shown by Plate 12. 

Having the clouded, spotty surface with the ground 
coat showing through between spots, you are now ready 
to begin blending. 

Take a large wad of cheese cloth about as big as a 
large sponge and begin on the upper left hand corner 


154 INTERIOR WALL DECORATION 


of the stretch to stipple or pat the surface with the wad 
of cloth crumpled up in your hand as shown by Plate 
12. If too small a piece of cloth is used for stipplng 

a spotty effect will be gained to the detriment of the 
beauty of the treatment. 

Pat the entire panel lightly and deftly until you 
have arrived at a blended and clouded effect that looks 
quite like white clouds against a blue sky. Some pre- 
fer the clouding to be very strong and pronounced, 
while others want a restrained effect with the pattern 
not at all prominent. It is difficult to judge the effect 
of your blending except from the opposite side of the 
room, From there you can readily see where the panel 
needs a little more wiping out or a little more stippling 
with color to get a uniform blend. The more the glaze 
color coat is wiped with the cloth the more the ground 
coat will show through and the lghter the wall will be 
because the cloth picks up the color. The remarks 
about brushing in a circular manner rather than in a 
straight line applies equally well to wiping out with a 
cloth. Every stroke with the hand should be in a cir- 
eular fashicn and the wrist should be twisted while the 
cloth is on the surface. Correct blending with the cheese 
cloth by twisting the wrist is the key to the entire 
glazing process. See Plate 14. If the decorator will 
learn properly to blend with a cloth and will step away 
from the wall often to observe the effect his success is 
assured. 

After a satisfactory blend has been assured it may 
be allowed to dry as finished. Or if desired you may 
stipple the glaze coat with a stippling brush to give a 
more uniform effect. Clean up the woodwork, then, 
and allow the glaze to dry. 

Fill In and Wipe Out Stencil—Before leaving the 
glaze coat to dry take a piece of clean wiping rag and 
wipe off all glaze color from between the stencil out- 
lines so the ground color will show through, 


TIFFANY GLAZING, MOTTLING, BLENDING 155 


Plate 12.—Spots of First Color and the Beginning of a Cheese- 
Cloth Stipple for Tiffany Glazing, Mottliny and Blending. 


TIFFANY GLAZING, MOTTLING, BLENDING 157 


Plate 13.—-Glazing Color Blended Out with a Stippling Brush. 


TIFFANY GLAZING, MOTTLING, BLENDING 159 


Plate 13A.—Glazing Color Stippled with a Sea-Wool Sponge. 


7! 


- TIFFANY GIUAZING, MOTTLING, BLENDING oe lelys 


Plate 13B.—Glazing Color Stippled with a Wad of Newspaper. 


TIFFANY GLAZING, MOTTLING, BLENDING 


Plate 13C.—Glazing Color Stippled with a Wad 


of Burlap. 


TIFFANY GLAZING, MOTTLING, BLENDING 165 


Plate 13D.—Glazing Color Stippled with a Rubber Sponge. 


TIFFANY GLAZING, MOTTLING, BLENDING Pe 16t 


Plate 13E.—Glazing Color Stippled with Cheese-Cloth. 


TIFFANY GLAZING, MOTTLING, BLENDING 169 


The stencil colors may next be filled in and wiped out 
for high lights and shading. 

When the Glaze Color Runs.—If the room is damp 
and cold and lacks ventilation the glaze color may run. 

If raw linseed oil has been used without any Japan 
drier in the glazing liquid the color may run. 

If you mix the glazing color too thin or brush too 
much glazing liquid onto the surface the color will 
run. 

The remedies for running glaze color is to increase 
ventilation by opening windows and doors or by turn- 
ing on an electric fan and then keep on blending and 
stippling with the wad of cheese cloth until the color 
remains where you want it. 

When runs are numerous it may be wiser simply 
to wash off the entire glaze coat with benzine and take 
a new start. 

When your ground coat is paint with too much gloss 
and when it is oil cloth, wipe over the entire surface 
with a cloth wet with benzine before putting on any 
glazing liquid. . 

The addition of one pound of corn starch to a gallon 
of glazing liquid prevents running of color. 

Glaze color may run when considerable color is put 
on to make a very dark effect. The remedy is to use 
very little or no glazing liquid on the wall,—only the 
color paste put on and blended out. 

Glaze Sets Before Blending.—If the work sets too 
quickly you have used boiled oil where raw is required 
or too much turpentine or drier, or the room is small 
and too well ventilated, or you coated in too large a 
stretch with glazing liquid. <A stretch six feet wide 
from the top of a wall to the baseboard is large enough 
for each stretch, and sometimes a smaller stretch should 
be carried down. <A smooth wall requires more drier 
than a rough one. You must learn to manipulate your 
thinners according to the size of the room, the tempera- 


170 INTERIOR WALL DECORATION 


ture and the amount of ventilation. The glaze can 
be made to set as rapidly or as slowly as desired. 

Finishing the Job.—Decorations of this type are often 
good for several years. To keep the walls clean a very 
thin coat of light colored interior varnish thinned with 
turpentine is brushed on. Then the walls may be washed 
often. A starch coat put on as described in Chapter 
VI is more often used for this purpose. 

Multicolor Glazing—A more colorful and nicer 
wall treatment results from using one predominating 
color and two or three subordinate colors. 

To produce this finish proceed with the job in exactly 
the same manner as described for simple two-color glaz- 
ing. 

When you have placed the spiral daubs of the first 
and predominating color on the wall and before blend- 
ing them out with the wad of cheese cloth add two or 
three other colors. Only a few spots of the other colors 
should appear, however. Place them irregularly, care- 
lessly here and there. 

To carry the illustration given further—that of a 
simple two-color Spanish leather effect—suppose instead 
an autumn effect is wanted. The Vandyke brown or 
burnt umber would be the predominating color. Then 
a few spots of red, rose lake or American vermilion per- 
haps, and a few spots of verdigris green, Prussian blue 
and raw sienna might be added in moderation. All 
would then be blended together. 

Each of the glaze colors ought to be mixed in a sepa- 
rate pot and a seperate clean brush (a two-inch sash 
tool) should be used to apply each color. 

Brush on these daubs in a spiral fashion from the 
center outward until the spot is about six or eight inches 
in diameter like Plate 15. The size of these spots and 
the number of them vary according to the size of the 
wall, making large spots for large rooms and small ones 
for small panels or rooms. The spots should not be 


TIFFANY GLAZING, MOTTLING, BLENDING 171 


Plate 14.—The Wrist Movement for Producing a Circular Texture 
When Glazing, Mottling and Blending. 


- ; ‘ e- . s 


TIFFANY GLAZING, MOTTLING, BLENDING 173 


placed regularly in rows or columns but generally rather 
than exactly diagonal, nor should all spots in a panel 
be of the same size. Place them here and there as fancy 
dictates. It is better to have too few than too many 
spots. 

The stippling brush, or clean calcimine brush, can 
now be used to blend all of the various clouds of color 
into the first glazing color and then the entire panel 
should be stippled or patted lightly with a wad of 
_ cheese cloth. Patches of color that are too strong may 
be wiped or blended out with the cloth until they are 
just strong enough. 

Do not rub or work too fone: in any one place or 
you may mix the colors together and thus produce a 
drab or neutral color; what- you really want to do is 
to spread one color over the other and thus secure a 
transparent, irridescent effect. You want a clouded, 
graduated effect with all colors blending into each other, 
and yet the pure color in the center of each spot must 
be in evidence. When the blend has finally been nicely 
done, stipple the entire surface with a stippling brush 
or not as you prefer and allow it to dry. The wall 
will then look like Plate 16. 

The most difficult part of this work is in 1 knowing 
when to quit. Go away from the wall occasionally to 
rest your eyes and you will be better able to use good 
judgment. View the effect often from the center of the 
room. Subdue the colors too much rather than to take 
a chance on their being too bright and prominent. 
Colors too bright get tiresome soon while restrained, 
subtle effects are appreciated more the longer one views 
them. 

Graduated Blends.—If you want to glaze a wall to 
have a dark color at the bottom blending up to a very 
light ceiling color at the top of the wall the procedure 
is the same as for simple two-color glazing except that 
when putting on the first glaze color you use stripes 


174 INTERIOR WALL DECORATION 


running horizontally as pictured in Plate 17. The 
stripes should contain quite a little color at the bottom 
and should be close together. As you go up the wall 
make the stripes a little lighter in the amount of color 
by easing off the pressure on the brush and space them 
a little farther apart. Place the last stripe fully two 
feet from the ceiling or picture mould. Beginning at 
the top blend your stripes together with a stippling 
brush and make your blend graduate as perfectly as 
possible from the floor to the ceiling or picture mould. 
Enough color will be carried on the stippling brush or 
cloth to color the upper wall. 

If in error the color is run too near the top wipe it 
out with a clean piece of cloth. When the wall color 
is too light anywhere wipe it over again with the cloth 
used in blending the dark bottom section. It will con- 
tain enough color to darken the light places, or add 
a few light strokes of the brush containing color. 

Generally in producing a graduated blend that is to 
be very dark at the bottom it is better to add a few 
stripes of a different and darker color than to gain 
the dark shading by using a large amount of the color 
used on the center and upper wall spaces. Too much 
of any one color is quite sure to run and cause trouble 
after blending. No glazing liquid should be used on 
the bottom dark area of the wall. 

If more colors are to be used in the scheme wipe out 
spots here and there and fill in with these colors. The 
spots of color, like the stripes, should be fewer and 
farther apart as you near the top of the wall so as 
not to darken the effect too much to secure a proper 
graduation of color. 

The colors are all to be blended with the anes cloth 
wad; then stipple the whole surface if needed with a 
regular stippling brush and let dry. The surface when 
finished will look lke Plate 18. 

Glazing Very Rough Walls.—The process is the same 


TIFFANY GLAZING, MOTTLING, BLENDING 175 


Plate 15.—Spots of Several Colors as Put on to Begin a Multi-Color 
Blend 


Plate 16.—The Multi-Color Blend Finished. 


TIFFANY GLAZING, MOTTLING, BLENDING 179 


Plate 17.—Horizontal Stripes of Glazing Color as Put on for a 
Graduated Blend. 


= 


= 
ie.2) 
b=! 


Plate 18.—The Graduated Blend Finished. 


TIFFANY GLAZING, MO7'FLING, BLENDING 183 


for such walls as for smooth surfaces with these excep- 
tions. 

Before the ground coats go on to a new wall the sur- 
face should be coated with a soap and linseed oil size 
as described in Chapter V. 

Then the first glazing color should be brushed on to 
the wall with a four-inch flat wall brush or a calcimine | 
brush after the glazing liquid has been brushed on. 
The other glaze colors may then be put on in cireular 


daubs as before. 


Flat and Gloss Spots—When there are suction spots 
in the surface the glaze coat may dry with flat spots. 
These may be rubbed over lightly when dry with a little 
glazing liquid. Hot alkaline spots. in the new plaster 
wall also cause flat spots to appear. 

Sometimes gloss spots —‘‘shiners’?’ —will appear, 
caused by too much brushing of flat ground coats. Ex- 
cessive brushing of flat paint brings the oil to the sur- 
face and makes a gloss spot. 

Gloss spots may be rubbed over with cold water when 
dry and sometimes they will flat. Sometimes a little 
benzine rub will flat the spots. And again it may be 
necessary to dissolve a little paraffin wax in turpen- 
tine and rub that on to the gloss spots. Very little wax 
or paraffin oil should be used, however. It is difficult 
to paint over in the future. 

Starch coating walls usually eliminates all gloss and 
flat spots. 

Glazing in Gray Tones.—Since glazing, mottling and 
blending are usually done with transparent colors, elim- 
inating black, white lead, ochre, chrome yellow, orange 
chrome, ete., a decorator is often puzzled to know how 
to produce gray glazed and stippled effects. 

Beautiful gray stippled and mottled effects are done 
this way. The ground coats are either white or light 
gray. The stippling and mottling colors are raw umber, 
cobalt blue and a little lamp or ivory black. When 


184 INTERIOR WALUM DECORATION 


white is needed zine oxide is best. The work is han- 
dled exactly in the same manner as other glazing, mot- 
tling and blending. 

Glazing Other Surfaces.—Glazed, mottled and blended 
effects are usually done over plaster walls which have 
been covered with canvas, burlap or muslin. In this 
event the wall fabric must be filled and painted as per 
Chapter XVIII. 

When glazing is done on oil cloth and other special 
wall fabrics which are sized, filled and painted the 
glazed finishes may be put on without further ground 
coats, provided the fabric is a suitable color and has 
no damaged patches. 

Wall paper is sometimes given a glaze color treat- 
ment to subdue strong pattern or color or to make it 
harmonize with furnishings. 

The process is somewhat the same for wall paper as 
for other surfaces except that no ground coats are 
needed and no oil can be used. The glazing color, 
which is water or distemper color thinned with water, 
is mixed very thin and put directly on to the paper 
with a stippling brush. The brush is not dipped into 
the color, however. The color is first brushed on to a 
piece of tin or a flat board. Then the stippling brush 
or a large sponge will pick up enough color from the 
board by pounding the board with it. 

Other Tools for Stippling.—The descriptions of the 
glazing, blending and mottling process so far have men- 
tioned only a wad of cheese cloth and a regular wall 
stippling brush for use in distributing the colors. This 
was done to simplify the instruction. 

As a matter of fact, several materials are used as 
tools for stippling the glaze color and each tool gives a 
different pattern. 

Some of the other materials used as tools with which 
to stipple are: Burlap, canvas, natural sponges, rubber 
sponges, the frayed end of a large rope, newspaper 


TIFFANY GLAZING, MOTTLING, BLENDING 185 


crumpled up and also the flat side of a caleimine brush. 

Varied effects are produced by using a tool on the 
first glaze coat which will give a coarse, strong pattern 
like that made with a wad of newspaper and on the sec- 
ond glaze color a different tool is used—perhaps a wad 
of cheese cloth or a stippling brush. In this method 
the first glaze coat is stippled and permitted to dry - 
before the succeeding glaze colors are put on and stip- 
pled. It is not necessary to allow the first coat to dry, 
but if the second color is spread and stippled while the 
first is wet some of the pattern of the first stipple will 
be subdued or lost by the second stipple tool. 

An ordinary grainer’s comb may be used to give an 
interesting verticle lined effect. After the glaze coat 
has been spread and uniformly stippled with a wad of 
cheese cloth, or the stippling brush, take the comb and, 
beginning at the top of the wall, drag it down through 
the wet glaze color, at the same time moving the comb 
from side to side to produce a wave line effect. 

Glaze Color Scheme Suggestions.—At first it is bet- 
ter for a new hand to do only simple glazing, using one 
color over .a different tinted ground coat. The umbers, 
siennas, blues and greens over ivory, white or light 
gray ground will give a wide variety of combinations. 
Any glazing color may, of course, be used over any 
color of ground coats. 

For graduated schemes here are a few easy ones to 
go over ivory white ground: 


Bottom Top 
Raw Umber Raw Sienna 
Chrome Green, dark Prussian Blue 
Van Dyke Brown Raw Sienna 
Burnt Sienna Orange Chrome 
Burnt Umber Raw Sienna 


There are those who prefer an even, delicately 
clouded effect in glazing, while others want pronounced 


186 INTERIOR WALL DECORATION 


clouds of color to show quite strongly. Some rooms, a 
den or smoking room perhaps, and large rooms, per- 
mit of fairly strong, pronounced coloring, but a dining 
room, living room or bedroom calls for finer patterns 
and a subdued blending of the colors, as a rule. 

Be reserved and modest about coloring. Nothing 
looks more primitive, vulgar and ordinary than a wall 
oelazed in large patches of strong color that resemble 
a map of the Balkan peninsula. Your own technical 
skill and artistic sense of fitness are your greatest as- 
sets in glazing as in all decorative work. That strange 
sense of propriety that knows when it is enough—that 
superb intuition that restrains one from doing what is 
ridiculous and strange are the only guides to follow. 
Be simple and conservative in the use of colors; when 
you are conscious of power, restrain it—keep it in re- 
serve. <A simple, straightforward treatment is usually 
the sign of a master workman. Achievement of sim- 
plicity is the great and difficult art. 

The background color should be determined largely 
by the exposure of the room. If the room is northern 
exposure or inclined to be dark through shaded foliage 
or veranda, a light, warm color should be the back- 
ground selection. 

Warm creams, pale yellows, or even rich golden yel- 
lows offer excellent selections. 

If the room has a southern exposure and the light 
unshaded or glaring, a cool color is preferable for the 
walls. Soft grays, light grayed-green, or grayed bluish- 
greens provide excellent backgrounds for rooms of this 
character. 

After the background color has ete: selected, the 
next problem is to determine the harmonizing colors 
for the stippling or mottling—the glazing colors. There 
are several courses which the painter can follow. He 
can select several tones of one color, or two tones of 


TIFFANY GLAZING, MOTTLING, BLENDING 187 


one color and one contrasting color or three contrast- 
ing colors. | 

If three tones of one color are selected, each tone 
should be slightly grayer and darker than the ground 
color. If one contrasting tone is selected, it should be 
the color which is the keynote color of the furnishing 
scheme of the room. ' , 

If the color scheme of the room has already been se- 
lected, and is harmonious, this contrasting color is sup- 
plied to the painter. He has only to use his own ex- 
perience and discrimination in applying it to the stip- 
pling scheme in the proper tone and value. 

In new houses, however, the decorations of the walls 
are decided upon before the furnishings of the rooms 
are purchased sometimes. This enables the painter to 
advise as to their handling, and to provide an additional 
service—if he is a real decorator—in suggesting color- 
ings which would make the most harmonious ensemble 
with the walls. 

The strength or depth of color used on walls must 
be gauged to fit the architectural character of the room 
as well as the purpose for which the room is used. 

Glaze finishes in bed rooms, in flower and millinery 
shops, for example, ought to be light, delicate and color- 
ful. White and very light colored ground colors are 
thus needed. And the glaze colors, too, should be light. 
This is accomplished by spreading them thin. 

On the other hand, deep and moderately dark color 
treatment is essential for rooms furnished in the heavy 
Old English or Jacobean period style, and especially 
where heavy dark wood paneling covers the walls or 
where the wood trim is massive and covers a consider- 
able area of the room. In such rooms the wall surface 
is much less than in the average room and then the 
walls naturally require heavier coloring to balance well 
with the rest of the room. 


188 INTERIOR WALL DECORATION 


To illustrate such color schemes further, consider a 
room paneled in oak finished in one of the brown stained 
effects—fumed, mission, antique or Jacobean. A mot- 
tled and blended finished effect in neutral orange or old 
blue is appropriate. For the neutral orange finish make 
the ground coat buff or Colonial yellow. The glaze 
colors should then be burnt umber and raw sienna. 

For the old blue finish make the ground color medium 
light from white flat paint tinted with Prussian blue 
and a very little black. The glaze coat over the blue 
may be raw umber. 

Another way to produce an interesting old blue finish 
is to use a medium light bluish-gray ground color. Put 
on next a glaze of Prussian blue stippled with crumpled 
newspaper and let it dry. Next glaze over with raw 
or burnt umber stippled with cheese cloth. A three- 
toned color treatment is thus produced. 

Glazing to Match Aged Effects—The decorator is 
sometimes called upon to reproduce on new walls, panels 
and furniture the mellow, aged appearance of old archi- 
tecture. That sorely tests the skill of a decorator, but 
it is fascinating and can be done with a little ingenuity 
and a full knowledge of materials, tools and methods. 

By way of illustration, an architect specified the fin- 
ish of a new wainscoated room to match the mellow col- 

oring of an old piece of Louis XVI paneling. 
The new panels were white wood veneer. The dec- 
orator first primed with white lead and then sandpa- 
pered the surface when dry. Next, four coats of paint 
were tinted a soft grayish blue-green using chrome 
green, golden ochre, cobalt blue and raw umber, Each 
coat was sanded to make a smooth job. 

Next the mouldings and carved ornaments were coated 
with gold size and covered with French gold leaf which 
was burnished only a little on the high spots. 

The glaze coat was next brushed on to give an an- 


TIFFANY GLAZING, MOTTLING, BLENDING 189 


tique finish. It was spread over the entire surface, 
mouldings, ornaments and all. The glaze colors were 
Vandyke brown, cobalt blue and yellow lake. The stip- 
pling was done with cheese cloth and a stippling brush 
while all glaze colors were wet at the same time. High- 
lights were made by wiping off the glaze colors here. 
and there in the centers of the panels and stiles as well 
as off such places as might naturally have been worn 
off in usage. | 

Antique Italian Finish—A rough sand finished or 
other rough textured wall may be given a very interest- 
ing finish in this simple manner. 

A white plaster floated rough wall, or a sand-float 
painted wall, is first given a thin coat of bleached shel- 
lac. When the shellac is dry a coat of paint of warm 
eray color and mixed to dry flat or semi-flat is to be 
brushed on to the wall in the ordinary way. 

While the paint is still wet wipe over the surface with 
a clean rag. This will remove the paint from the high 
spots of the wall only. The low places will remain 
painted, and contrast with the high spots which show 
through in the white plaster color. The wiping should 
be done in a carefully careless way to avoid any uni- 
form, mechanical pattern. A two-toned interesting ef- 
feet of lights and shadows is thus produced similar to 
the treatment given antique plaster cast statuary. 

Some decorators finish such a wall treatment with 
floor-wax polished by hand. 

A Mottled Novelty Finish—F or use in panels, or for 
a sun parlor wall treatment, a very interesting mottled 
finish may be produced as follows. It is also useful for 
window displays, theater decorations and wherever nov- 
elty color treatment is wanted. 

The wall surface is first painted in the usual man- 
ner with at least two coats to dry flat. 

Any color combinations may be used but for the pur- 


190 INTERIOR WALL DECORATION 


pose of illustrating the method let us say the general 
color effect wanted is light, warm gray. The ground 
coats, then, are light gray. 

For the finishing coat mix a pot of white paint to 
dry semi-flat and add to it about one ounce of Ameri- 
can vermilion which has been thinned to brushing con- 
sistency with turpentine. Just dump the red into the 
eray and do not mix it into the gray paint. About two 
turns around the pot with the mixing paddle is enough 
mixing to do. 

Next add about an ounce of medium chrome yellow 
and handle in the same way. 

Finally, add about one-quarter ounce of Prussian 
blue in the same manner. 

The pot of white paint should be made a little thin 
to cover well by mixing in turpentine before the colors 
are added. 

A pot of veri-colored paint of this type can now be 
brushed on to the wall in a thin glaze. Do as little 
brushing as possible to cover the surface and follow im- 
mediately with a stippling brush. 

By a little experimenting you will soon learn to pro- 
duce a mottled surface which has a general grey effect 
but which shows shght touches of each of the red, yel- 
low and blue. 

Sik Glazed Effects —Various methods have been used 
to gain a glossy silk wall finish for wall panels and 
sometimes for fairly large wall areas. 

In this treatment the first ground coat is mixed to 
dry with a semi-gloss. The second ground coat is mixed 
to dry with a full gloss, adding a little enamel for in- 
creasing the gloss. The glaze color is mixed with more 
oil and less turpentine, to increase the gloss. Use corn- 
starch in the glaze liquid—one pound of starch to the 
gallon to keep it from running. A little interior var- 
nish will help increase the gloss of the glazing liquid 
and make a better job. 


191 


TIFFANY GLAZING, MOTTLING, BLENDING 
When the glaze coat has been stippled and blended 


nicely with cheese cloth let it dry. 
The finishing coat is a flat, opaque paint of light 


color to contrast well with the dark blended and mot- 


tled ground color. This last coat is used only for trans- 


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The silk effect is gained by light reflections upon the 


what is called an all-over pattern, a diaper stencil which 
gloss surface of the ground coat. 


ferring a stencil design to cover the whole surface— 
prints a floral, geometric or classic design similar to 


Plate 19.—The Type of Diaper Stencil Used for an All-Over Design. 


some wall paper patterns. 


GHaAPT HRS 
SAND-FLOAT WALL FINISH 


For two reasons this new finish lays claim to decora- 
tors’ interest. In the first place it-is the most simple, 
quickest and cheapest way to treat smooth or rough 
plaster walls which have become considerably damaged 
with eracks and holes. 

And in the second place rough textured walls, such 
as are produced with sand-float, are far more artistic 
than smooth walls as a decorative background for the 
furnishings of a room. Furthermore, the masses of the 
great middle classes of people have come to appreciate 
the greater beauty of rough textured walls. 

To describe the sand-float process in a few words, it 
may be called simply a wall paint with sand in it. 

Where to Use This Finish.—Sand-float finish may be 
used on any surface which can be painted. It may be 
put on in one coat for fine textured finishes or in two 
or three coats for very rough textures. It is so suc- 
cessful in hiding imperfect surfaces that even the mor- 
tar joints in brick surfaces can be completely covered 
up. 
Sand-float finish is commonly put on over canvas cov- 
ered walls and then makes an exceptionally tough and 
serviceable decorative coating. In this finish, in fact, 
is produced a coating which will withstand the hard 
knocks of furniture and general treatment better than 

193 


194 INTERIOR WALL DECORATION 


rough plaster or any other coating, except portland ce- 
ment surfaces. 

The appearance of sand-float finish is identical with 
that of rough plaster finishes and the pattern or tex- 
ture can be varied to suit. Plates 20 and 21 give a fair 
idea of the rough texture of one kind of sand-float. 

Sand-float finish with paint was originated by decora- 
tors who were called upon to finish old smooth finish 
plaster walls to match new rough sand finished walls. 

Many of the characteristics of mottled, blended and 
glazed walls are possessed by rough textured surfaces 
like sand-float. The lght and dark color effects, the 
mellow appearance and interesting variations of light 
and shadow all go to make rough textures more beauti- 
ful and consequently more artistic than plain, smooth, 
colored walls. And rough walls when they have accu- 
mulated more or less dust and smoke often look better 
than when new. 

In addition to the use on interior walls of all kinds, 
sand-float may also be used on temporary outside sur- 
faces, park buildings, county fair structures, ete. Many 
years ago sand-float finishes were popular for use on ex- 
terior metal roof cornices and it was used on brick and 
stone surfaces as well as on wood. There is some rea- 
son, however, to doubt the wisdom of using it on any 
exterior surfaces, except temporary buildings to stand 
only a few months. Weather and temperature extremes 
may cause cracking and sealing. But on interior sur- 
faces no such defect is likely to occur when the finish 
is carefully applied. 


THE WORKING METHOD 


The Ground Coat.—The first coat on new plaster, 
smooth or rough, should be one of first class paint mixed 
with about two- finds linseed oil and one- third turpen- 
tine. 

Old surfaces which have been painted before, and 


SAND-FLOAT WALL FINISH 


Plate 20.—A Sand-Float Finished Wall. 


SAND-FLOAT WALL FINISH 197 


upon which the old paint is firmly attached, should also 
have one coat of paint, but less oil and more turpentine 
are needed to make the paint dry with a semi-flat. 
No glue or other size coat is needed on either new 
or old walls. | 
Cracks and holes ought, of course, to be filled and 
the surface, generally prepared as per the directions 


Plate 21.—A Close-Up View of the Sand-Float Texture. 


given in Chapter IV. Canvas or other fabrics may be 
put on if desired as per Chapter XVIII. 

Walls covered with calecimine should be washed free 
of all such material and if they were coated with gloss 
oil size, it is especially necessary to apply a coat of 
white lead thinned with turpentine and tinted to suit. 

Wallpaper on walls to be coated with sand-float should 


198 INTERIOR WALL DECORATION 


be stripped off clean to remove all paper before the 
ground coat of paint is brushed on. 

The ground coat of paint ought to be tinted the same 
color as the sand-float coat which follows. next. 

Mixing the Rough Coat.—The mixing of this coat is 
done in the ordinary manner and with materials in com- 
mon use among painters. Here is the formula: 


14 gal. outside gloss white prepared paint 
or | 

14 gal. white lead paint thinned to stout brushing 
consistency with half boiled linseed oil and 
half turpentine 

14, gal. inside prepared flat wall paint, or one quart 
of any good interior varnish or enamel to make 
the paint sticky. 


Mix the white paint and the flat wall paint (or enamel 
or varnish) well and then add tinting colors to suit: 
Ivory white, cream color, light gray, yellow, blue or 
any color wanted. 

Strain the paint after mixing, 

Next secure a bucket full of torpedo sand or bank 
sand. Fine beach sand is not suitable. Work the sand 
through a piece of fly screen to eliminate the very fine 
sand. Then work what sand is left through a coarse 
screen. The sand which goes through the coarse screen 
is the material to use in the paint or, for a texture not 
so coarse, use the sand which sifted through the fly 
screen. 

Mix into the paint enough of the sand to make a stiff 
mass. But the paint should not be too stiff to be 
daubed on to the surface with an old flat wall brush. 
It is important to mix this paint until every particle 
of sand is completely coated with paint. . 

To gain a very coarse, rugged texture it is best to 
use the finer sand which goes through a fly screen and 
put on two or three coats. Let each coat dry hard. 


199 


SAND-FLOAT WALL FINISH 


Plate 22, 


—Tools Used for 


Sand-Float Finishing. 


SAND-FLOAT WALL FINISH OL 


Tools Used.—The tools needed for sand-float finishing 
are those pictured in Plate 22. The tools are an old 
flat wall brush, four or four and one-half inches wide. 
A brush with the bristles worn to half their original 
length is best because it is stiffer, A regular stippling 
brush is needed and an old one will serve better than 
a new one because it is stiffer. A stiff scrub brush is 
sometimes used in place of a stipple brush. A square 
mortar board, about eighteen inches square, made of 
light wood such as the plasterer uses is also needed to 
catch such paint as falls off the ceiling as it is being 
brushed on. ‘Plenty of drop cloths are essential to this 
work, because it is impossible to prevent dropping some 
paint from the brush. 

Brushing On the Paint.—The success you have in this 
work will be governed largely by two things—you must 
mix the sand and paint thoroughly, using enough but 
not too much sand, and you must make the paint sticky 
enough with flat wall paint, enamel or varnish. Noth- 
ing but mixing experience and experimenting will teach 
you this point. But some of the material will drop off 
your brush and off the wall and ceiling even when the 
work is correctly done. 

Brush on the rough sand paint in the ordinary man- 
ner. When some drops off put on some more. And 
after coating in about one yard stipple the paint with 
the stippling brush. That will give a more uniform 
coating. 

In your brushing work the brush around in a circu- 
lar manner—not with straight brushing strokes. That 
gives an interesting texture. 

When the paint drops off in parts and will not stick 
when put. back, allow the surface to set a few minutes 
while you coat 1n some other stretch. The paint on the 
surface will then become more sticky and you can make 
additional material stick. 

If the paint shows a tendency to lift off when stip- 


202 INTERIOR WALL DECORATION 


pling allow it to set a few minutes. Also increase the 
ventilation. 

The proper texture effect to produce for sand-float is 
that which results from regular rough sand finished 
plaster. A rough, irregular, mottled suface is wanted, 
one which is.rougher in some places than others and 
one which shows plainly the circular tool marks in an 
irregular manner. 

It is possible, however, to produce many different tex- 
tures by using various tools. See Chapter XV for more 
on this subject. 

Color Treatment.—This finish may be given no other 
color than that put into the rough coat of paint. The 
very roughness of the surface will cast shadows and 
highlights, making a two-toned effect. 

The color treatment, however, is usually done by 
glazing over a light, rough-coat color with a darker 
glaze color or two, the same as for Tiffany glazing, 
mottling and blending, outlined in Chapter X. For 
instance, an interesting combination is an ivory or 
eream colored rough-coat with a burnt umber or Van- 
dyke brown glaze‘coat to finish. A light gray rough- 
coat color with a glaze color of raw umber and Prus- 
sian blue gives a very interesting old blue effect. 

Novelty and bizarre effects may easily be produced 
by using hght or white rough-coat colors and clear 
brilliant reds, blues, greens, browns and yellows for 
glaze coats. Also bronze powders may be brushed on 
to the rough surface when dry. Then brilliant glaze 
colors may be used on top of the bronze for striking 
effects on window displays, tea room walls, theaters, ete. 

Note Plate 23 for the general texture and appearance 
of a sand-float wall. This wall is in the living room of 
an average home in Chicago. It is an old smooth finish 
plaster surface which was covered with wall paper. The 
paper was stripped off. The ceiline sand-float texture 
is not so coarse as the side walls. 


203 


SAND-FLOAT WALL FINISH 


Plate 2 


3 


—The Sand 


Float 


Job Showing Two 


Different Textures. 


@ 


Oe ee Ad A ae OE 
SPONGE-STIPPLE WALL FINISHES 


In this decorative process we have the means of pro- 
ducing some highly artistic effects. The method is ex- 
ceedingly simple, requiring only ordinary care and good 
judgement as ‘to fitting the strength of pattern and colors 
to the room being decorated. 

Sponge-stipple finishes are versatile to a considerable 
degree. With them a skillful decorator readily pro- 
duces effects in color and pattern which are restrained, 
delicate and sufficiently conventional to be used in al- 
most any room. And yet, where strength of color and 
bold pattern are needed for very large surfaces viewed 
from a distance, where novelty and bizarre treatments 
are called for, sponge-stipple is also equal to the 
occasion. 

Sponge-stipple decorations justly claim many prac- 
tical advantages in addition to artistic merit. The cost 
of applying this finish is a little less if anything than 
plain painted walls because the stipple coat can be put 
on more rapidly than a coat of paint. With this wall 
finish old walls which show cracks. and patches look far 
better than with plain colors in flat paint. Such defects 
are completely covered in some instances and when not 
covered they are difficult to find in a sponge-stipple 
finish. 

The Decorative Effect Wanted.—As with most artistic 
finishes the effect aimed at is sort of a carefully careless 

205 


206 INTERIOR WALL DECORATION 


treatment. In other words you must avoid the regular- 
ity of machine-like repetitions of patterns. Producing 
just the right pattern is quite like the problem encoun- 
tered by the landscape architect when planting trees. 
If he plants them in geometrical shapes an artificial 
and uninteresting effect results. If he tries to arrange 
them to look natural he doesn’t always succeed. But 
if he takes several stones in hand and carelessly throws 
them out on the ground he quickly secures a natural 
grouping of the trees or shrubs when he plants them 
where the stones fall. 

So it is with any decorative wall finish. Don’t fuss 
with the pattern when it is natural in appearance. 
Knowing when to quit is most important. Plate 24 
gives some idea of the pattern wanted, although it is 
greatly inadequate without the color values of the finish. 

Suitable for Various Surfaces.——Sponge-stipple fin- 
ishes can be used on any surface where paint and eal- 
cimine are used. They are commonly done in oil paint, 
flat paint and calcimine.- They are equally suitable for 
smooth and rough plaster, wall board, canvas and bur- 
lap covered surfaces. 

Whole wall areas may be given this finish, or it may 
be confined to panels. 

For novelty effects it is also used on wood trim. 

Materials Needed.—Beautiful finishes are commonly 
done with prepared flat wall paints, with white lead 
paints and with caleimine. This is true for the stipple 
coats and the ground coats. | 

Tools Requred—One large sponge selected for hav- 
ing one flat side with many rough edges, rather than a 
fairly smooth surface, is the first requirement. The 
sponge may be one of natural growth or it may be an 
artificial rubber sponge, which costs less money and 
works very well. 

It is customary among some decorators to cut their 
sponges used for wall stipples with a knife to produce 


SAND-FLOAT WALL FINISH 207 


Plate 24.—A Sponge-Stipple Finish Done with a Sea-Wool Sponge. 


209 


SPONGE-STIPPLE WALL FINISHES 


Plate 25.—The Tools Used for 


Making Sponge-Stipple Wall Finishes. 


SPONGE-STIPPLE WALL FINISHES 7A 


a flat side. This is done by first soaking the sponge in 
water then when hard dry any large sharp knife will 
cut through one portion of the sponge to make one flat 
side. 

All types of sponges are used for this decorative 
work, but the deep sea wool sponge is better than the 
commor grass sponge It has a good pattern for wall 
textures, is tough and more durable than others. 

The rubber sponge makes a more interesting pattern 
than natural sponges. 

The other tools needed are only the necessary pots 
for ground colors, stipple colors and one for benzine 
to wash out the sponge with occasionally. <A four-inch 
wall brush, a mixing paddle and a stippling brush are 
also essential. See Plate 25. 

Ground Coats for Paint Stipple—New and old sur- 
faces should be prepared as per directions written in 
Chapter IV. 

Next, two ground coats of paint with a coat of size 
between are really needed for a high class job, although 
when the old surface is light in color it is sometimes 
possible to make a suitable ground for the stipple with 
only one ground coat. The ground coat is better when 
stippled with a brush. Chapters V and VI give all nec- 
essary information for the mixing and the application 
of these ground coats. 

For luminous effects the ground coat may be gloss 
enamel or regular bronze paint in copper, aluminum, 
gold or other colors mixed with bronze liquid. The 
stipple coat should then be dead flat. 


THE WORKING METHOD 


The fundamental idea about sponge-stipple finishes 
is the application of a light colored, solid flat or gloss 
ground-color coat, then over that to spread a broken 
eoat of a darker color in gloss or flat. If the ground 
coat is dark, the stipple coat must be light. The stippie 


212 INTERIOR WALL DECORATION 


coat is put on with a sponge over top of the ground coat 
put on with a flat wall brush in the regular way. 

The ground coat must be opaque to hide the surface 
and give a uniform color. The sponge-stipple coat may 
be opaque, or it may be a transparent glaze color. 

If the ground coat is mixed to dry with a gloss, the 
stipple coat should be flat. And when the ground coat 
is flat the stipple coat may be either flat or gloss. 

-Sponge-stipple finish may be confined to a two-toned 
effect, using only the ground color and one stipple color, 
or several stipple colors in harmony may be used. Usu- 
ally two stipple colors and the ground color are suffi- 
cient. 

The Stipple Coat.—If prepared flat wall paint is used 
simply select the color wanted to harmonize with the 
ground color. Mix the paint thoroughly as per the 
manufacturer’s directions and you are ready to begin. 

If you are going to mix your paint from white lead, 
assuming that your ground color is flat or gloss and 
that you want a flat stipple finish, break up the lead 
and mix it with turpentine or flatting oil, as directed 
in Chapter VI. Add the tinting colors essential to 
producing the colored paint wanted to contrast and 
harmonize with the ground coat. Thin the paint to 
ordinary brushing consistency. If a very rough and 
darker finish is wanted mix the paint a little thicker. 
A fine pattern results from fairly thin paint, while a 
coarse pattern is produced by thicker paint. 

Mix enough paint for the whole room at one time to 
avoid trouble in matching with a. second batch. 

As a rule the ground coat should be dry before put- 
ting on the stipple coat, but it is practical to add the 
stipple coat the same day after the ground coat has 
set an hour or two. Care must be taken, however, to 
avoid lifting the ground coat on the sponge and thus 
exposing the bare surface. 


SPONGEH-STIPPLE WALL FINISHES 213 


As suggested, the stipple coat is put on with a sponge, 
not a brush. Hold the sponge as in Plate 26. 

Another tool called a Vari-Tone Sponge Roller, pat- 
tented by a well-known paint manufacturer, is some- 
times used for applying the stipple coat. It is used in 
the same manner as the hand sponge, except that the 


Plate 26.—The Type of Sea-Wool Sponge Used for Wall Finishes. 


coat is rolled on instead of stippled. Care must be 
taken when using this tool to avoid a monotonous re- 
peated pattern and straight lines where one stretch 
joins another. This can be done easily. Also the fin- 
ish can be touched up with a large sponge here and 
there to eliminate any repetitions or straight edges 


214 INTERIOR WALL DECORATION 


which are too prominent. Plate 27 pictures this tool. 

The sponge is soaked in benzine by some decorators 
before beginning to stipple, while others prefer to soak 
it in water. Whichever liquid is used, squeeze out all 
you can before putting any paint on the sponge. It is 
well to soak the sponge every five or ten minutes to 
fluff it up and remove accumulations of paint. 


Plate 27.—The Vari-Tone Sponge Roller Used for Wall Finishes. 


A new sponge gives a coarse rough pattern desirable 
for some work, but an old sponge is better for fine tex- 
tured effects. The larger sharp projections on a new 
sponge may be trimmed off with shears if desirable. 

The sponge must not be dipped into the paint. The 
paint is to be spread on to a flat piece of galvanized 
iron, board or newspaper with a flat wall brush in an 


SPONGE-STIPPLE WALL FINISHES 215 


ordinary manner. Then the clean, damp sponge may 
be pressed down on the wet paint to pick up enough 
to cover the sponge tips. 

Having loaded the flat side of the sponge, you are 
ready to begin the stipple coat. As in all wall decorat- 
ing, begin on the upper left hand corner; work from 
top to bottom and from left to right. As a rule it is 
best to carry a stretch about six feet wide down from 
the picture mould to the base board. The right hand 
edge should not form a straight line, however. An 
irregular line is easier to join up with the next stretch. 

Probably you cannot reach the areas close to the cor- 
ners, mouldings, door and window easings with the 
large sponge. Have a small sponge or two handy to 
use for these places. 

The sponge is to be used in the same way as a stip: 
pling brush; that is, the surface is pounded gently with 
it and at the same time moving the hand here and there 
in a circular manner rather than in a straight line. 
Press the sponge against the wall rather hard and pull 
straight away without twisting the hand as in Tiffany 
blending. 

Return the sponge to the paint on the flat iron, board 
or newspaper as often as necessary to pick up the paint 
needed. Also, brush more paint from the pot on to the 
flat surface often but don’t spread it too thick or the 
sponge will become overloaded and cease to stipple the 
right pattern. 

After starting, try to keep the paint mixed the same 
consistency by frequent stirring, try to keep the flat 
surface evenly coated and try to keep the sponge evenly 
loaded. Wash the sponge out in benzine every few min- 
utes. These precautions taken, uniform work will 
result. 

In stippling, if you put too much paint on one spot 
by pressing too hard when the sponge has just been 


216 INTERIOR WALL DECORATION 


loaded, leave the spot a minute or so and work the paint 
pretty well out of the brush on new surface. Then go 
back and pick up the excess paint from the smeared 
area. If necessary wash the sponge and wring it dry. 

An. interesting pattern cannot be secured by light 
stippling. Press the sponge hard, yet if too much color 
is on the sponge a smear will result. So, you see the 
wisdom of practising a bit on a wall board panel to 
learn just the right amount of color needed in the 
sponge and the pressure on the sponge. 

If a bad job is made of it first, wash off all the stip- 
ple color with benzine and take a fresh start. 

When stippling go over each area as few times as pos- 
sible to cover it; that makes a nicer pattern than when 
the same spot is stippled repeatedly, making a smeared 
effect. Once over to transfer the paint and immediately 
once more to smooth out the joints and give the pattern 
sufficient stippling. 

Learn when to quit stippling. That is where good 
taste centers. Judge the appearance of the work from 
across the room, not nearby. When one wall has been 
done, be sure to match the others to it, allowing for 
the darker walls in shadows. All should carry the 
same depth of color and amount of pattern. 

When working on a very porous wall it is often best 
to coat the wall before any of the stipple coat has been 
put on with a glazing liquid: composed of one part 
linseed oil, raw, two parts turpentine and one part 
benzine. That enables you to move the color on the 
surface more easily. Do not wait for the glazing liquid 
to dry. 

The finish just described produced with the sponge 
is but one of many which result from using the same 
method in all respects except that a stippling brush, a 
wad of cheese cloth, crepe paper, muslin or burlap 
are substituted for the sponge. The stippling brush 
used like the sponge gives a finer textured surface. 


SPONGEH-STIPPLE WALL FINISHES 217 


The crepe paper, cheese cloth and burlap also produce 
fine, simple patterns but slightly different from each 
other. The heavy muslin when crumpled up into a 
wad gives an especially pleasing pattern resembling 
the figure of Spanish leather when done in the burnt 
umber or Vandyke brown over a ground coat of ivory. 
The materials or tools just mentioned are used in ex- 
actly the same manner as the sponge except that it is 
usually advisable to twist the hand with them when 


stippling the surface and it is not with the sponge. 


HERE ARE A FEW PRETTY COLOR COMBINATIONS 


Ground Stipple ; Stenci 
rivet Coat Materials ee 
White Light Rose American Vermilion|Med. Light Gray 
and White Paint 
White Light Gray Lamp Black and Dull Blue, Gray- 
White Paint Green ora Darker 
Gray 
White Light warm |Med.Chrome Yellow,|Light ‘Cobalt Blue, 
Yellow a little Vermilion neutral Light Drab 
and White Paint 
Light Same gray Lamp Black Gray, Gray-Green 
Gray but a little Raw Umber or light Cobalt 
darker Blue 
Light Light Blue Cobalt (Blue only Gray, Blue ora 
Gray Light Orange 
Yellow 
Light Green Med. Chrome Light Gray 
Gray Greenonly ' Neutral Drab 
Ivory Olive Green Med. Chrome Green, |Ivory orsGrayish 
French Ochre, Light Green 
White Paint 
Light Colo-|Light Blue Cobalt Blue Neutral Gray, 
nial Yellow White Paint Ivory 
Gold Dark Green Med. Chrome Light Warm Drab, 
Bronze Green only Medium Olive, 
Warm Gray, 
Cream 
Aluminum |Blue Cobalt Blue only Delft Blue, Light 
Bronze tvory,(Light 
Neutral Gray 
Ivory Tan Raw Sienna only Brown—Burnt 
; Umber, Cream 
Ivory Dark Brown {Burnt Umber only Light Tan, Cream 


Light Gray Drab 


Color Schemes.—A1l combinations of opaque and 


transparent colors, as well as tints and shades made 
with these colors on a white paint, are used in the 
manner described. Not all colors used together will 


218 INTERIOR WALL DECORATION 


harmonize as you well know, nor are all color combina- 
tions and stipple patterns suitable for every room. 
When two tones of the same color are used, harmony 
is certain. 


CHAPTER XIII 


SPATTER WALL FINISH 


In this finish we have one which is quite old and yet 
it is a decorative treatment which is both practical and 
beautiful to an extent which assures its continued use. 

As a rule spatter finish is used on bath room walls 
in residences and on other surfaces of small area like 
the centers of wall panels enclosed by mouldings, on 
the dado, filling or frieze of walls, ete. The finish is, 
however, perfectly suited for many other rooms, espe- 
elally when a bit of novelty is wanted to break the 
monotony of many rooms decorated in strictly conven- 
tional, restrained style. A sun parlor, nursery, or 
child’s room may be interestingly treated with this 
finish, 

Plates 28 and 29 picture spatter finishes done with a 
spray gun. | 

Plate 29. This is an attractive spatter paint finish 
in black, white and blue, on a dull terra cotta ground 
eolor. It is much more attractive for some surfaces 
than it might appear from color names. Useful for 
lower walls and dados of halls and bath rooms. Any 
color combinations can be used, of course. 

The materials used were ordinary paints mixed a 
little thicker than for brushing and to dry flat. Low 
pressure on the spray gun caused it to spatter and pro- 
duce these delightful color effects. 

219 


220 INTERIOR WALL DECORATION 


Plate 28. Another spatter finish. A flat black 
ground color was sprayed on. Then ordinary alum- 
inum bronze powder mixed with bronzing lquid was 
put into the material cup of the gun and with low 
pressure the spattering was quickly done. 

This is a delightful texture and color combination 
for wall panels, for a Japanese or Chinese room wall 
treatment and for novelty decorations in many places. 

Plates 30 and 31 illustrate this character of finish 
done by hand with a flat wall brush. The number of 
beautiful color combinations possible are limited only 
to the decorator’s good taste and imagination. 

To describe the finish briefly it may be said to con- 
sist of a solid, opaque, flat or gloss ground coat of 
paint, enamel or bronze. This ground coat may be 
light with little dark spatters of paint in two, three 
or more lighter colors on it, or the reverse may be 
used—dark ground color with lhght paint colors spat- 
tered on. 

And in like manner the ground coat color may be 
mixed to dry with a high gloss and be spattered with 
colors which dry flat, or the reverse—flat ground with 
gloss spatter colors. Also a flat ground color may be 
spattered with flat finishing colors. 


THE WORKING METHOD 


Ground Coats.—Spatter finish may be put on to any 
kind of surface which can be painted. Both rough and 
smooth plaster, wall board and surfaces covered with 
eanvas, burlap, oil cloth and wall paper may be deco- 
rated in this manner. 

Preparatory work must be done for this finish on 
plaster walls the same as for plain painting. pens 
IV describes these methods. 

Ground coats of paint are applied the same as for 
plain painting as per Chapter VI. On new walls two 


SPATTER WALL FINISH 221 


Plate 28.—A Spatter Finish Produced with a Spray Gun. Aluminum 
Bronze on Top of a Flat Black Ground. 


SPATTER WALL FINISH 223 


Plate 29.—A Scatter Finish with Several Colors Put on with a 
Spray Gun. 


SPATTER WALL FINISH 225 


Plate 30.—A Spatter Finish in Four Colors Done by Hand with a 
Four-Inch Flat Wall Brush, 


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SPATTER WALL FINISH 227 


coats of paint with a coat of size between are essential 
for high elass finishes. 

Old walls in good condition may often be given a 
spatter finish after spreading on only one coat of 
eround color. It is essential, however, that a uniformly 
covered and colored surface be produced before putting 
on the spatter coats. This can be gained in one coat 
when the old paint color is not darker than the new 
ground color. 

The second ground coat should be stippled in the 
usual way described in Chapter VI. 

The ground coats may be any color, light, dark or 
bronze. To illustrate a specific job let us cite a bath 
room wall. The wood trim ceiling and side walls above 
the chair rail were pure white enamel. The wall below 
the rail was covered with oil cloth of a cream-white 
color without gloss. 

The Spatter Coats—On this job the oil cloth was 
slightly greasy to the touch, so it was wiped down with — 
a cloth dampened in benzine. Next, one coat of flat 
paint of the same color,—just off the white toward 
cream, was brushed on and allowed to dry. 

Over this ground color the first spatter coat was 
made from raw umber in oil thinned only with tur- 
pentine to brushing consistency so it would cover well 
when brushed in the ordinary manner. 

This dull, drab color was spattered on to the wall 
in small specks as shown by Plate 31. 

An old flat wall brush with bristles worn down to 
about half length was dipped into the umber paint 
only enough to cover half an inch or so of the bristles. 
The brush was slapped out on the inside of the pail 
to remove an excess of paint and then the paint was 
spattered onto the wall by striking the brush on a board 
where the bristles enter the ferrule. See Plate 32. The 
brush, in other words, was used like a hammer, The 
bristles never came in contact with the surface. An 


228 INTERIOR WALL DECORATION 


ordinary serub brush dipped in the color can also be 
used to spatter the color on. <A table knife is scraped 
over top of the brush bristles. The brush is held flat 
in the left hand and up side down. 

After a more or less uniform spattering of this first 
coat, the second spatter color may be put on without 
waiting for the first spatter color to dry. This second 
color on the job in question was made by mixing vene- 
tian red with turpentine to brushing consistency. The 
second spatter color was then put on the same as the 
first one. 

A third spatter color was applied in the same man- 
ner, It was made by mixing white paint with enough 
Prussian blue to produce a deep sky blue tint, using 
turpentine only for thinning the pigments. 

When this third spatter color was finished a beau- 
tiful and appropriate color combination with attrac- 
tive pattern had been produced—ivory, grayish brown 
drab, dull red and sky blue. 

As stated any color scheme may be so produced, being 
careful to place flat spatter coats on gloss or flat ground 
colors, but not gloss spatters on gloss ground. 

When the ground color is made of gloss enamel and 
the spatter colors are flat a beautiful effect is gained 
at night. The gloss coat reflects the electric lights. 
The same is true when bronze ground colors are used. 


COLOR SCHEME SUGGESTIONS 


Ground Color lst Spatter 2d Spatter 3d Spatter 
White Black. Yellow 
Silver Bronze Blue-Green Lemon-Yellow Black 
Silver Bronze Black Peacock Blue Gray 
Ivory Dark Brown Sage Green White 
Light Blue Salmon Black Light Gray 
Light Gray Pink Pea Green Dark Gray 
Buff Violet Yellow Claret Red 
Dull Grayed Green {Crimson Ivory Light Green 
Medium Gray Orange Lavender {Brown 
Copper (Bronze Chrome Green |} Vermilion Black 
Gold Bronze Crimson Turquoise Blue |Black 


White Lilac Scarlet Black 


SPATTER WALL FINISH 229 


Plate 31.—The Same Spatter Finish as Is Shown in Plate 30, but 
with Only One Cclor on the Light-Colored Ground. 


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SPATTER WALL FINISH 231 


Plate 32.—-The Method of Holding and Using the Brush with a 
Stick for Producing Spatter Finishes. 


If a job is spoiled in places by spattering a few large 
gobs of paint on, these defects can be covered up by 
spattering on a little of the ground color over the 
defects. 


CHAPTER XIV 


VERNIS MARTIN AND METALLIC BRONZE FINISHES 


For wall. decorations these decorative treatments have 
a rather limited use, but for furniture and novelty 
finishes in general they are valuable. 

Decorators doing Tiffany glazing sometimes prepare 
the ground color by spreading on a coat of silver, gold, 
copper or other bronze color and then putting on a 
glaze color or two over top and blending them out 
nicely. This makes a very rich effect, but it is rather 
too pretentious for any except the finest of residences 
where fine rugs, rich tapestries, drapes and period fur- 
niture are used to complete the setting appropriately. 

The bronze undercoat serves very well, however, in 
well decorated public buildings like theatres, cafes, li- 
braries, etc., and for wall panel centers on nearly any 
walls. | 

Bronze Powders Used.—These come in different 
grades. The more expensive and finer powders cost 
too much to use on large areas, although all cover and 
hide the surface well in one coat. 

The less expensive decorators’ bronze powders come 
in grades designated as pale or rich gold; fine pale or 
rich gold; extra fine pale or rich gold; superfine pale 
or rich gold. 

Then there is a grade of bronze powders which are 
more brilliant and finer in texture described as: Roman 

233 


234 INTERIOR WALL DECORATION 


gold; Koh-i-Noor pale and rich gold; Hochglands pale 
gold; French gold leaf; karet gold leaf, XX deep; 
Vernis Martin. 

Another grade, called colored metallics, is made for 
decorative artists, sign painters, window shades, wall 
paper, button and artificial flower manufacturers. The 
colors in this line are: Gold, copper, red, dark green, 
light blue, crimson, purple, orange. 

There is a grade known as patent bronzes which in- 
eludes such colors as: Lemon, fire, crimson, orange, 
blue. 

For less expensive decorative work a grade called spe- 
cialty bronze powders includes such items as: Radiator 
cold; statuary bronze; handmade lining and striping; 
aluminum A; chemically pure aluminum; aluminum 
striping; natural copper. 

Bronzing Liquids.—For interior decorating purposes 
the purchase of a prepared liquid in gallon eang is 
usually most convenient and economical. These pre- 
pared liquids are usually made with amyl acetate 
(banana oil) which is mixed with dry bronze powders 
to make a paint; in fact, there are many lacquers made 
with a cellulose nitrate or acetate base. As a rule these 
are for use only indoors where protected from the 
weather and moisture. 

Decorators often make a bronze liquid by adding a 
little turpentine or benzine to good interior varnish to 
thin it to just the right consistency, and when this is 
mixed with dry bronze powders a satisfactory metallic 
paint results. 

For aluminum paints used on exterior metal surfaces, 
or any exterior surface, ordinary raw linseed oil is not 
suitable; it is too thin and permits the paint to run and 
streak, But, on the other hand, a special oil called 
heavy bodied boiled linseed oil is excellent for a mod- 
erate priced exterior metallic paint. | 

Spar varnish thinned to proper consistency with tur- 


VERNIS MARTIN AND METALLIC BRONZE 235 


pentine or benzine makes a good bronze liquid for 
exterior surfaces and for all surfaces that are to be 
washed. A mixture of spar varnish and regular or 
heavy bodied boiled linseed oil makes a less expensive 
bronzing liquid for extericr paint which is very sery- 
iceable. | 

Compounds of China-wood oil (tung oil) and many 
other mixtures ‘can be used for bronzing liquids. Care 
must be taken to make sure of proper drying properties 
in the liquid, however, since the leaf formation of a 
bronze pigment tends to retard drying. 

A bronze liquid composed of linseed oil principally 
does not make a very hard film, and for that reason 
bronze paints which are to be subjected to abrasion, as 
on furniture, should be composed largely of good 
varnish. 

To sum up, then, a bronze liquid must possess suffi- 
cient body to earry the metallic pigment and brush out 
into a smooth surface; it must contain enough drier to 
dry in a reasonable time; it must dry with a surface 
hard enough to resist abrasion when used for some 
purposes. 

Mixing Bronze Paints—The. mixing of aluminum 
paint is accomplished in a reverse manner to that used 
for other paints, in the respect that the dry aluminum 
or colored bronze pigments are poured into a pot con- 
taining liquid. It is easier to mix any dry pigment 
with a liquid by placing the liquid in the pot first and 
stirring the dry pigment into it than if the reverse 
operation is followed. 

The metallic pigments are very heavy and they settle 
to the bottom of the pot quickly. They should not only 
be thoroughly mixed, but it is essential to agitate the 
paint every few minutes by stirring in order to keep the 
paint of the same consistency all the time. | 

Aluminum paint should be mixed for average surfaces 
in the proportion of about 144 to 2 pounds of dry alumi- 


236 INTERIOR WALL DECORATION 


num powder to 1 gallon of heavy bodied boiled linseed 
oil. This will make approximately 11% gallons of paint. 

For some purposes the liquid used is entirely special 
heavy bodied boiled linseed oil. Ordinary raw linseed 
oil is too thin for use with this pigment. Some brands 
of heavy bodied boiled linseed oil can be thinned with 
turpentine or mineral spirits in the portion of 40 parts 
oil to 60 parts of turpentine and the resulting mixture 
will be of just about the right consistency for aluminum 
paint. 

Where aluminum paint is exposed to the weather, spar 
varnish makes an excellent vehicle with which to mix the 
aluminum powder in the proportion of 114 to 2 pounds 
of powder to a gallon of varnish. If the varnish vehicle 
is too expensive an excellent and serviceable liquid can 
still be made by using 20 per cent of ordinary pure raw 
or boiled linseed oil to 60 per cent of spar varnish. 

The pigment particles of aluminum are flat and make 
up a paint film by a leafy formation, one flat pigment 
particle overlapping the other like fish scales. This 
leafing peculiarity retards the drying of lnseed oil 
somewhat, and for that reason boiled oil is preferred. 
It is sometimes necessary to add a little Japan drier to 
make the paint dry rapidly enough. And if a harder. 
paint film is wanted, spar varnish should be added to the 
oil vehicle. 

Aluminum paint is very opaque and protects a sur- 
face well. It is particularly noted for excluding ultra- 
violet hght rays. Such paint is valuable for protecting 
not only metal but also surfaces which are subjected to 
both indoor and outdoor exposure. Aluminum paint 
reflects most of the light and heat cast upon it and 
absorbs very little. It is for this reason that aluminum 
paint is used as a protective medium on balloon fabrics. 
In past years the large gas bags of airships deteriorated 
rapidly because of the the effect of the direct rays of sun- 
light. Aluminum paint has materially increased the 


VERNIS MARTIN AND METALLIC BRONZE 237 


life of such fabrics by excluding the heat and light. 
China wood oil is used with aluminum powder for such 
paints because of its ability to withstand high tem- 
peratures. 

Aluminum paint is excellent for such surfaces as large 
oil storage tanks, large gas holders of public service 
companies and many other metal surfaces. Bright alu- 
minum reflects-approximately 70 per cent of the light 
rays and about 90 per cent of heat rays. 

A particular characteristic of aluminum paint to be 
kept in mind is that it is very opaque and its hiding 
power is such that often one coat of aluminum paint 
will obscure a surface which would require two or three 
coats of ordinary paint to gain the same end, A little 
aluminum paint spread onto a piece of glass and noted 
through the other side will give you a clear idea of this 
virtue. Such hiding power makes aluminum paint valu- 
able for coating signboards which are to be relettered 
and also for use on mahogany finished doors stained 
with an aniline bleeding red. Sometimes mahogany 
finished doors when refinished with white enamel] will 
turn pink even after many coats of enamel are applied. 
Then a coat of aluminum paint is usually successful in 
sealing up the bleeding stain. 

For use on exterior surfaces at least two coats of 
aluminum paint are necessary. 

Aluminum paint should be fresh each day, because it 
deteriorates by losing its rapid leafing quality when it 
stands in the vehicle for some time. 

The polished aluminum powder has a higher reflec- 
tivity than an unpolished aluminum. The polished pig- 
ment reflects between 55 and 70 per cent of light rays, 
while the unpolished reflects between 45 and 50 per cent 
of lght rays. 

It is interesting to note that some very pleasing deco- 
rative effects can be gained by mixing tinting color 
pigments with aluminum paint. The aluminum will 


238 INTERIOR WALL DECORATION 


conceal small amounts of color, but fairly large amounts 
will add their color to the paint, while the aluminum 
adds reflection and brilliance which are very pleasing. 

One of the disadvantages of using bronze powders 
is that they tarnish and become quite dull’ in a few 
months. Only real gold and silver leaf will hold its 
brilliant metallic burnish for a long time. However, 
when bronze powders are covered over with varnish 
the tarnishing is much retarded. 

Using Dry Bronzes—On certain novelty wall finishes 
such as mottled, blended and glazed surfaces nice effects 
can be produced by a judicious use of dry bronze 
powder. 

The method employed for this is simple. The glazed 
surface is finished in the usual manner as described in 
Chapter X. Then after the finish has taken the initial 
set, but before it is dry a bit of dry colored bronze 
powder is pounced or stippled on here and there. The 
bronze lodges in the sticky surface and gives a bright 
reflection in night lighting. 

To put the bronze on the most common method is 
to place the dry bronze in a shallow dish. Take a wad 
of cotton or cheese cloth and dip it into the bronze. 
Then gently stipple the wall here and there with the 
bronze on the wad. Press the wad against the sticky 
glaze or paint coat hard enough to force the bronze into 
the paint. 

Fine jobs of glazing are sometimes given a coat of 
thin, light colored varnish to protect. them. The bronze 
powder may then be pounced into the varnish after it 
sets but before it becomes dry. 

Verns Martin Finish.—This name is used rathed in- 
discriminately to describe all manner of bronze and 
metallic finishes. 

In the finishing of furniture the Vernis Martin fin- 
ish is, perhaps, most commonly used. It is done by a 
simple and effective process. 


VERNIS MARTIN AND METALLIC BRONZE 239 


A very tight box is built large enough to hold a chair, 
several picture or mirror frames or, in fact any piece 
of furniture to be so finished. In the top of this box 
the fan wheel of an electric fan is placed, the motor 
being on the outside of the box while the fan is inside. 

The furniture to be finished is coated with a slow 
drying varnish, a special size made for this purpose of 
oil or Japan gold size. Then, while the coating is wet 
the furniture is placed in the cabinet, a generous quan- 
tity of dry bronze powder is dumped also into the box. 
The box is closed up tight and the fan is turned on. 
The strong air current from the fan blows the dry 
bronze against the wet varnish or size and the surface 
becomes uniformly coated. 

The fan is stopped and after allowing time for the 
bronze to settle to avoid wasting it the furniture is re- 
moved and given ample time to dry. 

When the bronze is dry it may be given one or more 
coats of clear varnish or lacquer to protect the bronze 
from abrasion and from tarnishing as it would from 
contact with the air. 

Before the varnish or lacquer coats the bronze is often 
given a glaze coat of colors in oil or Japan nicely blended 
with a cheese cloth to give a mottled effect. 


= 


CHAPTER XV 


HISTORIC AND NEW ROUGH WALL TEXTURES 


FRENCH CAEN STONE ITALIAN PLASTER 
ROMAN TRAVERTINE HOLLAND FINISH 
OLD ENGLISH PLASTER SPANISH PALM FINISH 
ROMAN TILE FINISH NOVEL FINISHES 


Of the many beautiful rough textures in wall finishes 
being used today, perhaps the most artistic are not the 
newer patterns but those which have come down to us 
through the ages. 

As originally done, such finishes were executed in 
mud, cement and lime plasters of varying compositions. 
Today they are done with materials which are more 
nearly related to paint than to the plaster known now. 

Flat surfaces are improved by ‘‘texture,’’ nearly all 
colors are improved by ‘‘texture’’ and deep, bright col- 
ors are improved by a slight gloss which gives depth of 
color. 

In the hand textures we have wall treatments which 
have no suggestion of tiresome, mechanical repeat pat- 
terns. Variety and harmony of pattern are gained in 
the handmade textures without any concession of in- 
terest. 

The ease with which hand textures can be given a 
bold or restrained handling makes this’ mode of decora- 
tion invaluable. Such wall treatments are mellowed 
by the passing of time and heightened in charm as is 
also true with all really beautiful objets d’art. 

241 


242 INTERIOR WALL DECORATION 


The hand-textured, rough wall finishes ecntribute 
beauty of considerable artistic merit to interior walls. 
Such surfaces are durable and washable; they are serv- 
iceable, indeed, withstanding all of the usual accidents 
common to walls in most homes from furniture bruises, 
the children’s play and ordinary eareless treatment 
generally. 

As a rule one coat of plastic material brushed on, 
having been previously colored to suit, is ample; al- 
though two coats are needed for the very rough and 
rugged textures. The cost of one coat on rough tex- 
tured surfaces amounts to less than two or three coats 
of plain painting. 

The versatility and adaptability of the plastic paint 
materials now being used to produce rough textured 
finishes are characteristics which assure much greater 
use of artistic wall finishes from year ‘to year. In the 
hands of decorators and artists of discriminating taste 
these plastic materials are capable of producing surpris- 
ingly numerous conventional and novelty textures. — 

Those of a creative nature find such plastic materials 
very responsive, while decorators more interested in pro- 
ducing wall finishes of tried and proven merit are able 
to select beautiful textures from the great variety avail- 
able to fit every conceivable purpose in the decoration 
of walls. 

Along with all of the potential beauty of which plas- 
tic paint materials are capable for rough wall textures, 
one cloud is visible on the horizon, so to speak. And 
that is the probability that some decorators are using 
rough textured finishes intemperately, inappropriately. 
There is a place for all finishes, but no one texture, 
pattern and color of finish is suitable for every room. 
The type of architecture, purpose for which the room 
is used and the furnishings are some of the elements to 
be considered in the selection of any one wall texture, 


HISTORIC AND NEW ROUGH WALL TEXTURES 243 


color and pattern. In Chapter II the subject of appro- 
priateness is covered more in detail. 

Ail forms of art and decoration in and out of the 
home are subject to such possibilities of intemperate 
and indiscriminate use, however. The development of 
an artistic sense of the eternal fitness of things is a 
lifelong study and is intimately dependent upon the 
whole education of the individual. Fortunately this 
study and the progress which results is fascinating; 
it builds up and sustains interest along with the hard 
work involved. 

And when proficiency in the use of textures, patterns 
and colors appropriately has been gained by study, ob- 
servation and experience one is no longer simply a 
painter, but an interior decorator within the full mean- 
ing of that descriptive term. There have always been 
too many craftsmen who have simply taken specifications 
from architect or customer for work to be accomplished 
without knowing why, wherefore or reason and who 
have methodically followed dictation step by step to the 
completion of a decorative work. 

Then there are also too many interior decorators of 
the other extreme type,—those having considerable edu- 
cation, culture and refined taste who fuss with drapes, 
color schemes, accessories and expensive furniture, know- 
ing little about working methods, materials and tools 
—the means which are essential to producing an ade- 
quate background for truly beautiful interiors, and the 
means essential for shaping raw materials to express 
artistic ideas on walls, ceilings, floors and architectural 
features of rooms. 

On the one hand we have the mechanics who are ex- 
eeedingly practical in technical essentials, the crafts- 
men painters who come from the bottom up knowing 
little about the aesthetic, cultural, historic art period 
elements involved in interior decoration; and on the 

other hand numerous men and women entering the pro- 


244 INTERIOR WALL DECORATION 


fession of interior decoration from the top, so to speak, 
and who are greatly ignorant of the practical means 
of executing their artistic ideas. 

But the future is promising because of the drawing 
together of these two extremes. The craftsmen are 
learning the aesthetic while those in the other group are 
pursuing knowledge of the practical means of trans- 
ferring their dreams and imagination into paint and 
other decorative materials on wood, plaster, concrete 
and steel. 

Decorative Wall Finishes in History—What have 
now evolved into artistic and beautiful wall decorations 
in our day had their crude beginnings away back in 
the early ages when homes were but little more than 
mud huts. The thought uppermost in the minds of 
those people was for protection, not the beauty of deco- 
ration. 

But as the struggle for the preservation of life be- 
came less difficult man gradually turned to thoughts of 
making his home better to look upon—an attempt at 
decoration. At first these thoughts found expression 
only by a more even application of the mud plaster 
and attempts to smooth it a bit with hands and sticks. 
Later the ideas of design, pattern and ornamentation 
developed. From such crude beginnings have come 
through the centuries our present day artistic, service- 
able and durable wall textures including smooth, sand 
finish, moderately coarse, rough and rugged textures. 

As with much other knowledge of civilzation the point 
of beginning concerning plaster and painted wall treat- 
ments is found in Egypt. There at first the plaster 
was crudely daubed on with hands and wood paddles, 
but later first class tools for producing a smooth finish 
were used. 

Egyptian furniture and mummy cases dating back 
to 3000 B. C. give evidence of the knowledge of these 
ancients concerning the use of very durable paints put 


HISTORIC AND NEW ROUGH WALL TEXTURES 245 


on with crude brushes; the brush marks are still in 
evidence. 

Such furniture and architectural features of buildings 
were built by hewing and hacking the timbers into 
shape. Then to gain a smooth surface a thick, plastic 
paint of the carriage painter’s roughstuff type was put 
on, smoothed up or given an artistic texture and pat- 
tern. Then the surfaces were painted with durable 
earth colors. 

Over the walls of tombs, such as that of King Tut 
recently discovered, the plastic paint and color coats 
used have endured through all these ages, even though 
the rock walls have disintegrated in places. 

At later dates we find that during the progress of 
the Greek civilization this people learned to produce a 
smooth finish on their plaster. The Arabs and Persians, 
however, did not progress to this point and so the rough 
textures are very much in evidence in the architecture 
of these peoples. 

In the beautiful architecture of the old Romans is 
found very artistic rough texture. The Roman plaster 
was of good composition and it was put on with no 
small measure of skill. Application was by daubing 
on the material with the hands and. smoothing it out 
in that manner, working in the textures with the fin- 
gers. Clay modeled tiles were shaped with the hands 
and used on roofs as well as for interior trim. 

In the later Roman periods the idea of stippling the 
plaster with rough tools came into use, as is evidenced 
by the uniformly stippled backgrounds on their bas- 
relief frieze decorations. 

The objective toward which craftsmen have been work- 
ing in all ages is that ot producing plastered walls hav- 
ing an absolutely smooth surface . Having accomplished 
that we now find that such smooth, plain walls unbroken 
by texture, pattern or lights and shadows are uninter- 
esting, monotonous and tiresome. And in these facts 


246 INTERIOR WALL DECORATION 


we have the reason for the rapidly growing interest in 
rough textured walls, in mottled and blended color on 
wall surfaces. 

The rough hand textures which hold most of interest 
in this day are those which are duplications of or inter- 
pretations from early English, Italian and Spanish arch- 
itecture. From the Italian and the English Renaissance 
have come many fascinating textures. Such finishes 
from Southern Italy and from Spain are probably most 
celebrated. 

The periods of strenuous religious and political up- 
heavals in those parts of the world practically disbanded 
the plastering craft. Such plastering as was done dur- 
ing and following these times was accomplished by any 
workmen available. Few possessed enough skill to do 
a job of smooth plastering and so the materials were 
put on with their hands and crude wood paddles, then 
smoothed up as much as possible with their hands. 
Hence, the origin of the Palm Finish so popular today. 

This method appears to have flourished until about 
the fourteenth or fifteenth centuries when crude trowels 
and wood floats were contrived. Their use continued for 
about two centuries. The sixteenth century saw the 
advent of better tools and the making of smoother trow- 
eled surfaces. The plaster was still coarse, however, 
and so the sweeps of trowel and float left their marks 
in the plaster finish. Gradually the making of very 
smooth plastered surfaces came to be understood and 
the style of rough textures was superceded. 

The popularity of rough textured walls was of much 
shorter duration in England. With more stable poli- 
tical conditions the English craftsmen apparently learned 
more quickly after the introduction of plaster how to 
produce smooth surfaces. 

The principal rough texture in use in England up 
to the fifteenth or sixteenth centuries was called ‘‘ wat- 
tle and dab’’ plastering, presumably so called from the 


HISTORIC AND NEW ROUGH WALL TEXTURES 247 


manner in which the workmen drew the wood floats or 
trowels over the wet plaster like the wattle of a duck 
and then finished by dabbing with crude tools to finish. 
Also, laths were called wattles. 

As between the great periods of architectural design 
in England little distinction can be made in the rough 
wall textures used. The textures known as Jacobean 
and Old English Plaster were practically the same as 
what we call ‘‘Sand-Float’’ today, although trowel 
marks were even more in evidence in the old finishes 
than is true today. 

The Palm Finish of Old Spain is to be noted in an- 
cient churches and also in the United States in the old 
Catholic Missions of the Southwest. The crude sim- 
plicity of unskilled workmen is greatly in evidence in 
all such work. The native Indians converted by the 
Spanish priests performed much of the work and these 
textures so unintentionally produced and mellowed with 
age present a charming appearance today. They are 
being reproduced to a great extent. 

For Colonial architecture many believe that the use 
of certain bold patterned wall papers is strictly cor- 
rect and the only means of finishing walls of such build- 
ings. But as a matter of fact, the early Colonial archi- 
tecture in New England also included Sand-Float wall 
finishes called Jacobean or Old English plaster at the 
time. 

In addition to the historic and artistic wall textures 
which are identified more or less intimately with the 
established periods of architectural design, there are 
many others of modern creation. Some are adaptations 
from historic textures, while others are entirely new. 
Some are very artistic and beautiful in a restrained, 
quiet way, while others are so bold in character as to be 
suitable only for surfaces calling for novel and bizarre 
treatment for business reasons. 

Howard Shaw, a prominent Chicago architect, who 


248 INTERIOR WALL DECORATION 


has designed many buildings where antique textured 
finishes have been used, related an incident which sug- 
gests the origin of some of these finishes which have 
become so popular. 

While in Italy Mr. Shaw was invitied out to the villa 
of an Italian countess. This villa was some distance 
from the city and, not knowing how much time the jour- 
ney would consume, he started out early, arriving some 
two hours ahead of time. He found the Countess attired 
in old clothes and with the aid of her chauffeur plaster- 
ing the walls of a hallway. The chauffeur being of a 
fiery, explosive Italian nature, objected to this occu- 
pation and was applying the plaster in the roughest 
way possible. In his anger the chauffeur produced ex- 
actly the finish the Countess desired! 


THE WORKING METHODS 


Materials suitable for producing artistic wall finishes 
must possess several qualities to be worth while, and 
that is true whether such materials are purchased pre- 
pared ready for use or mixed by the decorator after one 
of the formulas commonly used. 

The material must be plastic, that is it must be soft 
and elastic enough to brush or trowel onto the surface, 
yet after a few minutes it must set stiff enough to be 
manipulated with tools or modeled with hands or fin- 
gers into the textures or decorative forms wanted. After 
which it must dry hard. 

The next essential is that of durability. For some 
surfaces like window trim decorations, theater stage set- 
tings, show ecards and signs, material may be used which 
is only moderately durable. 

Wall decorations in homes and public buildings, how- 
ever, ought to be executed only with materials of known 
permanence. 

Most plastic materials are permanent for interior use 


HISTORIC AND NEW ROUGH WALL TEXTURES 249 


only, though some are permanent on exterior surfaces. 

A plastic material may be of a fine or coarse grained 
texture. Those mixed by the decorator are usually of 
a finer texture than some of the ready prepared mate- 
rials. The same general appearance of textured surface 
can be produced with both types of materials. 

Plastic materials may be tempered to take the initial 
set only after a sufficient time has elapsed after being 
spread on a surface to permit working-in the texture. 

Another essential quality is that of complete chem- 
ical stability. Materials which are chemically active 
with colors mixed into them or spread on the surface 
are not likely to prove satisfactory. Such action may 
destroy the colors completely or may cause discoloration 
or fading which gives a wall a spotty appearance. 

Prepared materials are apt to prove more satisfactory 
than painter-mixed plastics, because they are more likely 
to be of uniform composition over long periods. That 
makes them easier to handle and assures durable jobs. 


PREPARED MATERIALS 


There are several brands of plastic wall coating ma- 
terial on the market and no doubt more will appear from 
time to time as an even more extensive use of rough tex- 
tured walls is evident. 

Textone-—One of these materials is called Textone.* 

Textone was made to serve as a decorative coating over 
Sheetrock wall board, but is also used on plaster walls 
and most other wall surfaces. 

This is a pure white, dry powdered material. It is 
mixed on the job with water and applied with a wall 
brush. It spreads freely and dries slowly enough to 
allow stipplng with a brush or other tools. 

Textone is an opaque coating which hides any prop- 


* Textone, manufactured by the United States Gypsum 
Company, Chicago, IIl. 


250 INTERIOR WALL DECORATION 


erly prepared surface of any color completely in one 
coat. According to its manufacturers, it makes a very 
durable, flexible and tough surface that should improve 
with age. 

This plastic material may be oe by the addition 
of dry colors or regular tinting colors in oil. These may 
be mixed into the Textone before application to the sur- 
face. When the Textone is appled white the surface 
when dry may be painted the same as any plaster sur- 
face or glazed with transparent stain colors as described 
in Chapter X. 

When dry colors are used they should first be mixed 
thoroughly in water before using them to tint Textone. 

Colors ground in oil should be well mixed with tur- 
pentine to about the consistency of molasses before add- 
ing them to Textone. If mixed too thin there may be 
a little separation of the turpentine and it may float on 
top of the mixture, causing a little discoloration. 

The color should be thoroughly strained through fly 
screen before adding it to Textone,—this to break up all 
lumps. 

If a one coat tinted effect is desired, this mixture can 
be colored to certain shades. The following pigment 
colors, ground in oil, slightly thinned with turpentine 
(or dry colors dissolved in water), can be safely used. 
For red, use Venetian, Indian or permanent reds; 
browns and tans, use raw umber, burnt umber, raw 
sienna, burnt sienna; yellow or creams, use yellow ochre; 
blue, use cobalt or ultramarine blue; green, use cobalt 
green; black, use lamp black or drop black. Avoid Prus- 
sian blue, carmine and aniline colors. While chrome 
green and chrome yellow can be used, the decorator must 
handle them carefully and lmit the quantities used. 
(The pigment must first be dissolved and then added to 
the prepared Textone.) Stir the Textone thoroughly to 
a uniform color. 

Textone is marketed dry in 10-lb., 25-lb. and 50-lb. 


HISTORIC AND NEW ROUGH WALL TEXTURES 251 


fibre boxes. Each box contains a separate package of 
Textone size which is sufficient for the surface that can 
be covered with the Textone in the box; also directions 
for using, which should be carefully followed. 

The covering capacity of Textone, like any other coat- 
ing, depends upon how thick or thin it is spread on the 
surface. Approximately 144 square yards will be cov- 
ered by one pound of Textone in one coat when fine- 
grained stipples are used. For very rough textures 
more material is needed. One pound of Textone size 
will cover about 75 square yards. 

One coat of Textone is usually enough, although for 
very rough textures two cr more coats may be used, 
allowing each coat to dry. 

The working method prescribed for the application of 
a one coat Textone grained stipple finish is as follows: 

The success of the finished job will depend largely on 
the proper preparation of the surface to which the 
Textone is applied. All joints and nailheads in wall 
board must be covered with Sheetrock finisher. A semi- 
elastic scraping knife is the tool to use for this purpose. 

After the surface has been prepared it is given a coat 
of Textone size, which comes with every package of Tex- 
tone. When this size is dry, the surface is ready for the 
Textone. 

Mix the Textone with lukewarm water to the con- 
sistency of heavy paste. Textone may be applied white 
or in color. If it is desired to color Textone, pigment 
eolors in oil or dry colors are used. Pigment colors 
must be thinned with turpentine before mixing them in 
Textone. Pigment colors will be found to give greater 
variety than do dry colors, but either can be used safely. 

Textone is applied with a common ealcimine brush or, 
better, with a Dutch calcimine brush, which holds much 
more material. The Textone is brushed on the wall 
evenly and with as few brush marks as possible, but it 
must not be brushed out like ordinary paint. 


252 INTERIOR WALL DECORATION 


When the Textone starts to set, or becomes ‘‘tacky,’’ 
it is time to stipple, or work in the texture, which is 
done with a large wall stipple brush. A four-inch wall 
brush should be used around fixtures and in angles. 
For the stippling method see Chapter VI. 

It is best to try out this finish on a piece of Sheetrock 
before starting the job, as this will insure getting the 
desired color and texture. 

For a two-tone finish the working method should pro- 
ceed as follows: 

The general effect of this finish when viewed in a 
room is never repeating patterns of varying tones of 
light and dark shades over the entire surface. It can 
be easily seen that there is nothing mechanical about the 
effect, but rather it is the ‘‘accidental’’ effects which 
create the charm. 

The process of application is simple. The walls are 
first properly prepared and given a coat of Textone size. 
Following the directions which come in the package, the 
white Textone is mixed into a thick putty and applied 
either with or without coloring. 

The Textone is applied to the surface with a caleimine 
brush. As this begins to dry go back over the surface 
and stipple. The stippling is done with a sponge, stip- 
pling brush, ordinary paint brush, a piece of newspaper 
or the hand. Then allow the Textone to dry. 

After the Textone is dry the little rough points of the 
stipple may be smoothed off with sandpaper or by rub- 
bing the surface with a block of wood, although this is 
not necessary. Then give the surface a coat of Textone 
size. The surface is now ready for the Textone glaze 
color coat when the size coat is dry. So for the glaze 
coat use Textone glaze into which pigment colors in oil 
have been mixed. This is applied with a brush and 
wiped off again with a clean cloth. Do not rub. the 
surface too hard, but leave the dark spots of color in 
the low places. 


HISTORIC AND NEW ROUGH WALL TEXTURES 253 


A finish of this kind may be washed and painted over 
again when so desired. 

Craftex.*—This is another plastic wall coating ma- 
terial which is capable of producing artistic finishes. It 
is Suitable for application over any surface which can 
be painted. 

The application of Craftex should proceed as per the 
manufacturer’s instructions as follows: 


PREPARATION OF THE SURFACE 


Over Old Plaster——All holes or cracks in the walls 
should be stopped with plaster or thick Craftex and al- 
lowed to dry thoroughly, then paint or size the new 
spots, in tones of the surrounding surfaces, before apply- 
ing the Craftex, to prevent the wall from being spotty. 

Over New Plaster—Craftex can be applied directly 
over new plaster work, unless the plaster is unusually 
absorptive, in which case it will be necessary first to 
give the wall a thorough coat of size to kill the suction. 

Over Paint or Water Color—Wash the surface free 
from dirt or grease and remove all loose portions or 
blisters by scratching with a wire brush or by the use 
of paint remover. Kill glossy surfaces with a solution of 
one pound of washing soda to a pail of water. If the 
wall has been waxed, this must be entirely removed. 
Water color must be washed off thoroughly. 

Over Paper——Remove the paper if there is any doubt 
that it does not adhere firmly to the wall or if the surface 
underneath is unsound. Where the greater part of the 
paper is in good condition it may be left on the wall, 
providing all loose portions are pasted down firmly or 
are torn away, leaving a slightly ragged edge. Wipe 
off any dust with a dry or damp cloth. A somewhat 
heavier application of Craftex will be required where a 


* Craftex is manufactured by The Craftex Company, 
Boston, Mass. 


254 INTERIOR WALL DECORATION 


portion of the paper has been removed than in eases 
where the surface is perfectly even. Craftex should 
not be applied over wallpaper containing dyes soluble 
in water, in any case where the color of the dye in the 
Craftex would be objectionable. The presence of such 
dyes may be determined by moistening the paper; if 
the color runs a stain will show in the Craftex. 

Over Wall Board.—Joints may be filled or taped. The 
manufacturers of some wall boards supply a special joint 
filler with the board. Craftex can be used very success- 
fully for this purpose. Prepare the Craftex in the usual 
way by adding warm water and allowing the mixture 
to cool, but prepare the mixture thick hike putty. Apply 
the Craftex in the joints with a putty knife and allow 
it to harden. If the joints still show in places, a second 
application will completely cover the depression. If a 
fine stippled texture is to be applied, it will be advisable 
to sandpaper the joints, thus producing a smooth, even 
surface over which to apply Craftex. Although Craftex 
can be applied to the surface of any wall board with- 
out preliminary preparation, it is always advisable first 
to give the board a coat of sizing unless the board is 
sized by the manufacturers, in which ease it will be 
necessary to size only the joints. Sizing stops the suc- 
tion of the wall board, thus facilitating the spreading 
of the Craftex and insuring an even textured effect. 


APPLICATION 


First Coat—Craftex.—Mix the Craftex powder with 
warm water in the proportion of 114 gallons of water to 
10 pounds of Craftex, or approximately one part of 
water to two parts of Craftex by volume. Stir the whole 
mass vigorously. The mixture will have the consistency 
of a smooth paste. Craftex should not be mixed thin 
like paint or water color. Allow at least two hours for 
the powder to become thoroughly dissolved and for the 


HISTORIC AND NEW ROUGH WALL TEXTURES 255 


solution to become cold. To prevent hardening in the 
pail, place a damp cloth over the top of the pail, or 
cover the surface of the mixture with a small amount of 
water, which ean be poured off when the mixture is to 
be used. For one coat work, add dry colors dissolved 
in water, or preferably colors in oil, to the solution. The 
colors in’ oil should be slightly thinned with turpentine. 

Apply Craftex with an old ceiling or wall brush. 
Allow to set a little, then stipple with a stippling brush, 
sponge, crumpled paper, or dabble with flat side of the 
brush to obtain desired texture. Smoothing off the high 
spots with a piece of wood or tin gives troweled effect. 

Sandpapering.—Craftex under ordinary conditions 
will dry thoroughly over night. When dry it should be 
sandpapered slightly before the coat of Lacquersize is 
applied. 

Second Coat—Lacquersize-—Mix Lacquersize by dis- 
solving 34 pound of Lacquersize to a gallon of boiling 
water. Stir occasionally until thoroughly dissolved. 
Use when cool. 

Apply with a soft flat brush over Craftex, being care- 
ful not to leave any uncovered places. 

Third Coat—Craftcoat.—Mix with oil colors to obtain 
any desired colors. The oil colors should be slightly 
thinned with turpentine. 

Apply with a brush over Lacquersize, after the 
Lacquersize has been allowed to dry. 

Wiping.—After the Craftcoat has set a little, wipe 
the entire surface with a soft cloth stretched over a block 
of cork or wood to bring out the high lights of the 
Craftex. 

Covering capacity.—The covering capacity of Craftex 
is entirely dependent upon the type of texture desired 
and the condition of the surface over which it is applied. 
The average textures of medium stipple, brushed and 
troweled effects require in the vicinity of one pound of 
Craftex to two square yards of surface. 


256 INTERIOR WALL DECORATION 


Lacquersize—One pound of Lacquersize will cover 
from fifty to sixty yards of surface, according to the 
texture of the Craftex. 

Craftcoat—One gallon of Craftcoat will cover ap- 
proximately forty yards of surface, depending on the 
texture to be covered. 

Cautions—Sponge off spatters on finished woodwork 
at onee. Do not allow to harden on woodwork. Avoid 
the following colors: Carmine, Prussian blue and those 
colors containing it, such as Marseilles green, ete. 

Decorite.*—Another brand of plastic wall finishing 
material. It should be used in a similar manner to that 
employed for other plastic materials. Follow the manu- 
facturers directions in details. | 

Covering Capacities—Decorite will cover from 1 to 3 
square yards of surface per pound. Figures will vary 
according to texture desired and the condition of the 
surface. 

Decosize covers approximately 50 square yards per 
pound. 

Decoglaze covers approximately 45 square yards per 
gallon. 


DIRECTIONS FOR APPLYING DECORITE 


1. Preparation of Walls. 

(a) On new work Decorite can be applied over 
brown coat of plaster, thereby eliminating the 
expense of skim coat. The brown coat should 
be troweled as smoothly as possible. 

(b) In remodeling, cracks should be filled with 
plaster paris. It is advisable to color over the 
plaster paris as nearly as possible the same 
shade as the surrounding surface, varnish siz- 
ing the entire surface before applying Decorite. 

(c) Have all surfaces free from dirt and grease. 


* Decorite, manufactured by The Decorite Company, 
Cambridge, Mass. 


2. 


' HISTORIC AND NEW ROUGH WALL TEXTURES 257 


(d) 
(e) 


(f) 
(9g) 


Glossy or enameled surfaces should first be 
killed. 

Sheetrock, Bestwall, Compoboard and_ other 
non-shrinkable wall boards should have all 
joints and nailheads filled and sandpapered 
smooth. : 

All surfaces to be Decorited should first be 
sized, preferably with a varnish size. 

Do not use a priming coat over surfaces to be 
Decorited. 


Decorite. 


(a) 


(b) 


Mixing—To one pound of Decorite powder add 
a little less than one pint of cold or warm 
water; stir vigorously. Allow to stand three- 
quarters of an hour before applying. 

The above proportion is the ideal mixture for 

the medium textures. For heavier or finer 

textures less or more water should be used. 

Applying.—Apply Decorite with a wall or ceil- 

ing brush; spread smooth over surface and 

then texture by any of the following methods. 

1. Stippling—Use regular paint stippler to 
obtain fine or coarse stipples. 

2. Brush Textures.—Use flat side of wall 
brush. The manner of manipulating the 
brush, either slapping, pushing, or dab- 
bling, produces interesting effects. 

3. Sponge and Paper Textures.——By dabbling 
with a sponge or paper crumpled in a ball, 
unusual and uniform textures may be had. 

4, Troweling.—Decorite applied fairly rough 
with a brush, then lightly troweled gives 
very interesting antique plaster effects. 
Decorite will harden sufficiently in twelve 
hours or over night to be ready for sizing 
and glazing with Decoglaze. 


258 


3. Sand 


INTERIOR WALL DECORATION 


papering. 

After Decorite has set sufficiently hard, sand- 
paper surface lightly with a fine grade of sand- 
paper. This will take off all rough edges and 
give a very smooth surface. Light troweling 
will facilitate sandpapering and give much 
the same effect. 


4, Sizing. 


(a) 
(Db) 


Before glazing size Decorite with Decosize. 
To prepare Decosize, add one pound of Deco- 
size to five quarts of boiling water, allow to 
boil, stirring until thoroughly dissolved. Strain 
through cheese-cloth if necessary. 


5. Decoglaze. 


(a) 


(b) 


Decoglaze is an oil medium for obtaining beau- 
tiful, artistic and durable effects over Deco- 
rite. Add colors ground in oil to Decoglaze 
to get the desired tints. Apply in the same 
manner as ordinary paint, wiping surface with 
clean cloth pads. With Decoglaze, colors can 
be blended to perfection. To obtain very light 
colors a little white paint may be added to 
the glaze. 

For very light colored finishes, a coat of white 
paint is advisable in place of sizing with Deco- 
size. This will bring the highlights out very 
clearly when wiped, also giving a more perma- 
nent finish. 


6. One Coat Work. 


For an economical finish Decorite can be ap- 
plied in one coat by adding dry colors to the 
Decorite powder. In mixing dry pigment col- 
ors dissolve first in water and then mix with 
Decorite. Stir thoroughly. Prepare walls as 
stated above. Stippled or rough ceilings can 
be produced in the same manner. Add linseed 
oil for increasing resistance to moisture. 


HISTORIC AND NEW ROUGH WALL TEXTURES 259 


Caution: Woodwork should be carefully protected 
from Decorite. If woodwork is spattered wipe imme- 
diately with sponge. 

Mix to consistency of heavy paste. Decorite should 
not be mixed thin like water color. 

Do not let Decorite or Decosize stand in solution more 
than two or three days. 

Compostipl* is a hard-drying pigment stippling com- 
position, particularly adapted for spray work. It pro- 
duces a hard, tenacious coating that adheres to metal, 
wood and composition surfaces permanently. It also 
forms a perfect foundation from which finishing coats 
of lacquer, varnish or enamel will not chip or peel. 

Thinning and Spraying—Compostipl comes in paste 
form weighing 14 lbs. to the gallon. For spraying it 
is thinned to a flowing semi-paste consistency with 
naphtha or benzine. One pint of naphtha is sufficient 
to reduce one gallon of Compostipl for average work. 

Forty pounds air pressure and upward is necessary 
for stippling, and the nozzle of the gun should be held 
at least 12 inches from the surface being sprayed. For 
coarse, heavy textures use the Compostipl at heavy con- 
sistency and low air pressure. For fine texture work 
increase the air pressure and thin the Compostipl. 

By variation of the consistency and the air pressure 
with a spray gun it is possible to obtain a variety of 
effects from that of fine sand paper to the texture of 
stucco. 

Drying.—The stippled surface requires two hours air 
drying to set for handling. It dries thoroughly in 24 
hours for laequering or enameling. The drying may 
be forced at 150° F. in ovens in four hours if speed is 
required. Compostipl sands readliy. Some strong 
lacquers may soften the Compostipl temporarily, but 
if it has been dried thoroughly before their application 


* Manufactured by Finishing Specialties & Service Co., 
Chicago, Ill. 


260 INTERIOR WALL DECORATION 


this does not lessen the durability of the finish in the 
- least. 

Adaptability—Compostipl is adaptable to any finish- 
ing process where beauty of surface, economy and large 
scale production are prime requisites. The labor opera- 
tion of surface preparation is absolutely eliminated ex- 
cept for removal of traces of oil or grease. It: fills 
rough places and sticks tenaciously to rough wood, 
polished metal, composition, or even glass. 

Compostipl is produced regularly in natural (buff) 
color. When required it is also made in white, black, 
eray and special colors at a slightly higher price. 

Compostipl may be put on a surface with a flat wall 
brush and be stippled with a stippling brush, sponge or 
other tools to make rough textures. 

Stippaleen.*—This is a strong, tough and _ elastic 
paint filler having plastic qualities. It is made in 
three distinct grades of density—lquid, semi-liquid 
and paste. Each grade has its own peculiar uses in 
the field of decoration. The paste and semi-paste forms 
are of greatest interest to the decorator considering 
rough-textured wall finishes. 

Stippaleen was first used as a rough filler coating 
for polychrome-finished articles such as floor lamps, 
book-ends, picture frames, candle sticks, chairs and 
many other items of furniture. — 

One of the valuable qualities of this material is 
that it will resist the solvent action of lacquers. 
Lacquers which produce very fine and durable sur- 
faces have given some difficulty because of the chem- 
ical action which prevented their use on ordinary 
painted surfaces. The solvent property of lacquers is 
produced by amyl acetate which is one of the com- 
ponent parts of lacquers and one of the principal 
agents used in paint and varnish removers. When 


* Manufactured by Indiana Indestructible Paint Co., Chi- 
cago, Ill. 


HISTORIC AND NEW ROUGH WALL TEXTURES 261 


lacquer is applied over ordinary painted surfaces the 
underecoats are loosened and raised from the surface, 
and they can readily be removed by wiping or scrap- 
ing with a putty knife. Stippaleen used ag the under- 
coat, or filler, is said by the manufacturers of the 
produet to resist this solvent action. 

Stippaleen may be brushed onto a surface in the 
ordinary manner and may be stippled with brushes, 
or worked into artistic textures with the other tools 
mentioned elsewhere as commonly used for this purpose. 

This product is made in a light tan shade and also 
in a dark gray. Glaze and stain coats, or opaque 
coats of paint may be used over Stippaleen and wiped 
out, blended or highlighted as with other plastic finishes. 

Stippaleen will withstand high temperatures and 
extreme cold. It is marketed in paste or liquid form 
rather than as a dry powder. This material may be 
applied on any rough or smooth wood, plaster, metal, 
paper, canvas, leather or other surface. 

Stuc-O-Tint.*—A plastic wall coating material for 
use In coating smooth and rough walls, old or new 
smooth plaster, sand finish, canvas, burlap or wall 
paper (firmly attached). It is useful for producing 
rough and artistic wall finishes with textures worked 
in with a brush, by hand, with trowel, sponge or other 
tools. Like the other plaster materials described, it is 
put on with a brush. 

The manufacturer’s directions read as follows: 

Mix powder with water to a consistency governed 
by thickness of texture desired. 

If it is to be used immediately it should be mixed 
with hot water and allowed time to cool before apply- 
ing. If mixed with cold water it should be allowed to 
stand about twelve hours so that all ingredients will 
have time to dissolve. Water should not be colder than 


* Manufactured by Bradley Stuc-O-Tint Company, Inc., 
Boston, Mass. 


262 INTERIOR WALL DECORATION 


seventy degrees. It will not change in consistency by 
standing and will not harden unless it has been allowed 
to stand for an unreasonable time. It will dry hard 
in from six to twelve hours. 

After Stuc-O-Tint has thoroughly dried, if the fine 
edges or points are objectionable, sandpaper lightly and 
it is ready for finishing. 

If a glazed or stained effect is desired, mix color 
required with Stuc-O-Glazing-Liquid to make shade, 
apply with brush and wipe off with rags as much 
as necessary to obtain the desired finish. 

A blending of colors can be made by spotting of 
other colors over the above surface while wet and 
working into the texture and wiping off. 

If a flat finish is desired, apply one coat of paint 
and you will have a flat eggshell finish. 

If applied upon a surface where an extraordinary 
amount of dampness exists, it should have an extra coat 
of dead flat varnish or polish with wax. 

If a waterproof finish is not necessary, tint Stuc-O- 
Tint before applying with dry or oil colors, apply and 
stipple or texture with tool to get desired effect. 

If applying over old wall paper be sure and scrape 
off all loose places before applying. If wall paper has 
colors that may bleed through, ge a coat of varnish 
size over old wall paper. 

No sizing of other surface is necessary before or 
after applying Stuc-O-Tint. All elements necessary to 
stop suction or effervescence are contained in the 
powder. 

Stuc-O-Tint will cover from ten to twenty-five square 
feet to a pound, according to the thickness of texture 
used and surface upon which it is being applied. 

Morene.*—A portland cement product which is plastic 
and intended for producing rough wall textures. 


* Morene, manufactured by Morene Products, Inc., New 
York aN... 


HISTORIC AND NEW ROUGH WALL TEXTURES 263 


Morene is an emulsion based on white portland ce- 
ment, sand and asbestos so combined that the ingredients 
remain in suspension. Morene readily lends itself to 
the production of unlimited varieties of color combina- 
tions and textures, including stipples, sand finishes, 
tapestry effects, caenstone, travertine, limestone and un- 
polished marble. 

This plastic material can be used wherever permanent 
artistic expression for either exteriors or interiors is de- 
sired—whether it be in a modest home or the most 
palatial mansion or institution. 

It may be apphed with a brush or a trowel on any 
brown or white plaster coat, on wood or old painted 
surfaces, sheetrock, any wall board, or metal. 

Morene will not crack or check and may be scrubbed 
with soap and water. 

Flat Wall Paints—Some of the prepared flat wall 
paints on the market can readily be adapted for use as 
a plastic wall coating in rough textures. Not all such 
materials are suitable,—only those having a long oil 
binder, those which spread out easily and are usually 
made from treated linseed oil as the flatting liquid. 

To the flat wall paint you simply add enough dry 
whiting or clay to make a thick plastic coating which 
may be brushed or troweled onto a surface. 

Painter-Mixed Materials—For a great many years 
skilled decorators have been making plastic wall coating 
materials for rough textures. Formulas for such ma- 
terials are rather numerous. Indeed, some decorators do 
not always make the plastic the same way twice in suc- 
cession, depending upon what materials are handy. 

Plastic mixtures for this and similar purposes are 
called simply plastic composition, or compo, or Swedish 
putty. The German decorator calls it spechtelkitt, while 
Italian decorators for ages have used what is known as 
Italian gesso, a very durable composition. Then there 
is another composition called scagliola made to dry quite 


264 INTERIOR WALL DECORATION 


hard and to be polished to imitate marble or other stone. 
Pargetry is still another name for a plastic composition. 

The disadvantage experienced in using painter-mixed 
compositions comes from indifference about working to 
an exact formula of known durability. Decorators are 
inclined to guess at quantities and to use any one of 
several materials which will produce the desired plastic 
qualities. In consequence some jobs done with such ma- 
terials crack or chip off in a few months or weeks after 
completion. 

A bit of experimenting and testing of various material 
compositions and proportions, measuring by weight all 
ingredients and keeping records will develop exact 
formulas for plastic compositions which are durable. 
Then each batch should be mixed by weight using ex- 
actly the same materials every time. 

It is at this point where manufactured ready prepared 
plastic compositions are likely to be superior. They 
are made in large quantities from raw materials of 
known composition and which remain constant. Then, 
also, the prepared materials are mixed in dry form so 
they will keep indefinitely. 

The decorator can also mix large batches for large 
jobs to gain uniformity, but the material must be used 
immediately or it will set hard in the keg. 

Swedish Putty—The formulas for Swedish putty as 
commonly used differ. Here are some of them: 

Outside gloss paint 
Add a little dry whiting or calcimine 
Add a little dry china clay or fine sand 
Glue dissolved in warm water. 
Dry color to tint. 
Another formula: 
2 lbs. bolted whiting 
21% lbs. well cooked flour paste 
1% pint boiled linseed oil 
Knead until a smooth, soft putty is made. 


HISTORIC AND NHW ROUGH WALL TEXTURES 265 


Another formula for Swedish putty used to some ex- 
tent is a mixture of: 
Prepared flat wall paint, enamel or varnish 
Dry whiting, or calcimine 
Glue dissolved in water 
China elay, enough to make plastic. 


One more formula for Swedish putty: 


1 lb. glue 

1 gal. warm water 

2 lbs. whiting 

2 lbs. plaster of Paris 

1 lb. white lead in oil 

Dry color to tint 

Mix and thicken with dry whiting or warm 
water. 


A fourth formula for Swedish putty: 


1 lb. plaster of Paris 

14, lb. dry white lead 

2 tablespconfuls of bi-carbonate of soda 
(baking soda) 

Dry color to tint 

Mix with hot water to thick consistency. 


Still another plastic composition akin to Swedish 
putty is made by mixing: 
Glue dissolved in hot water 
Rosin, dry 
Whiting, dry 
China claz 


Italian Gesso—Many of the fine old works of art 
which have come down to us from the ages past were 
formed in part at least from a very tough and durable 
plastic composition called gesso. Such furniture as 
picture frames and panel mouldings as well as scme 
statuary and other works of art were constructed largely 
of gesso. 


266 INTERIOR WALL DECORATION 


The formula for mixing gesso as far as we moderns 
know is this: 

1, gelatin glue 

22 dry whiting 

A few drops of raw linseed oil 

Dissolve glue in hot water; 

Add whiting and linseed oil while the glue 
is hot. Mix thoroughly. When cold if 
it is too stiff to spread, heat again and 
add more water. 

While gesso sets reasonably soon and is durable 
enough immediately for window trim backgrounds and 
other temporary work, it is not the best plastic for 
wall textures. It takes years to become hard enough 
and durable. The addition of a little lead, enamel, 
varnish or gloss paint to the formula given makes a 
durable material in less time. 

Tools Used.—Both painters’ and plasterers’ tools are 
used in producing rough textured wall surfaces. Many 
unusual tools also are used for producing textures or 
patterns. 

On Plate 33 are shown the tools most commonly used 
for making rough textures on walls. 

Preparation ofSurfaces——New and old surfaces should 
be prepared for rough textured finishes in exactly the 
same manner as for painting. Chapter IV presents a 
necessary information about this work. 

Ground Colors—Dry colors or colors ground in oil 
may be mixed in with the plastic wall material or the 
ground color may be painted on after the rough coat 
is dry. 

Glaze Colors—Rough textured walls may be beau- 
tifully decorated in transparent or glaze colors as re- 
corded in Chapter X. 

Costs and Prices.—The material cost for a grain stip- 
pled coating with a transparent glaze finish ranges from 
20¢ to 50c per square yard when prepared factory made 


Plasters Hawk steel .- Darby Wood Float 
or MortarBoard Trowel 4°K 36X Yain 


Size 14X14 in. 
IY 
i 


Tre 


Dutch tandard Ain Flat Stippling Brush 
Calcimine Calcimine Wall Brush 
Brush Brush 


Old Flat Sea Wool Large Fallete 
Wall Stub Sponge Knife 
Brush 


| 


1°X2" Wood Straightedge Aftlong Bricklayers Pointing 
Trowel Trowel 


Steel Wire Large Wood or 
Scratch Brush Rubber Comb 


_ Plate 33.—Tools Used for Producing Rough Texture Wall Finishes. 


268 INTERIOR WALL DECORATION 


materials are used. It is commonly figured that 50c 
per square yard is a safe average cost to the contractor 
for labor and materials. To this must be added labor 
cost, overhead expense and profit. 

Prices charged for this decorative work vary from 
$1.00 to $5.00 per square yard. 

Holland Plaster Wall Finish.—Plates 34 and 35, In 
this finish which represents the historic textures in old 
Dutch houses we have an unusually artistic treatment. 
While it is strikingly beautiful in itself the color and 
texture can be so held in restraint as to permit its use 
in rooms of greatly varying types of architecture 
whether formal or informal or of an extreme novelty 
character. 

The particular room from which the photographs— 
Plates 34 and 35—were taken were decorated by a firm 
of Chicago decorators, R. S. Adams & Company, which 
has had extensive experience in producing rough and 
artistic textures in wall finishes. 

Materials and Tools——The material used on this job 
was a Swedish putty mixed in the shop from outside 
gloss white paint, calcimine, glue, China clay and color. 

The plastic material was mixed to a cream color. It 
was put on with a plasterer’s trowel (See Plate 33), 
using a plasterer’s hawk or mortar board (See Plate 33) 
to carry the material. The plastic material was han- 
dled just as a plasterer handles his material. However, 
it was not troweled to a smooth surface but rather the 
raised and rough edges left by the trowel at the end of 
each stroke were allowed to dry in that form, giving 
the appearance of torn edges of paper. 

After allowing two or three days for thorough drying 
the surface was glazed over with Vandyke brown mixed 
to a thin stain with turpentine and a little boiled linseed 
oil. This glaze stain coat was brushed on in the ordi- 
nary manner with a flat wall brush and was stippled 


"OUN4YXOL HEM JaISPld PURIIOH JO MIA [eu9UeyH W—'ps 93¥ld 


HISTORIC AND NEW 


ROUGH 


WALL TEXTURES 


269 


HISTORIC AND NEW ROUGH WALL TEXTURES 271 


Plate 35.—A Close-Up View of the Texture of the Holland Plaster 
' , Shown in Plate 34. 


HISTORIC AND NEW ROUGH WALL TEXTURES 273 


with a stippling brush while wet. A wad of cheese cloth 
used for stippling also gives a nice effect on this surface. 

When the glaze stain coat was dry a piece of No. 1 
sandpaper wrapped around a square block of wood was 
used to rub over the high points of the rough edges on 
the wall. This sandpapering must be done lightly and 
deftly. Just enough pressure is exerted on the sand- 
paper to nip off the brown stain coat from the high 


Plate 36.—Close-Up View of French Caen Stone Finish. 


edges and allow the cream colored undercoat to show 
through in irregular streaks. 

The wall was next dusted off and a coat of starch 
was brushed on to finish the job. For the Starch 
method see Chapter VI. 

French Caen Stone.—Plates 36 and 37. This texture 
and its cream color are indeed popular. It is essentially 
a formal treatment and is used extensively in homes 


274 INTERIOR WALL DECORATION 


of more pretentious architectural type, in such public 
buildings as hotels, clubs, restaurants, libraries, ete. 
Caen stone is especially in evidence in theatre and hotel 
foyers and lobbies and is much used for window display 
backgrounds in retail stores. 

Caen stone is being quite generally used with Roman 
and Greek forms of architecture, although this is not 
authentie. 

As a rule Caen stone is marked off in blocks 18 inches 
wide by nine inches high to appear like the artificial 
stone with close mortar joints. But when this finish is 
used in bath rooms and kitchens it is usually marked 
off to represent bricks of ordinary size or tile about four 
er six inches square. 

Materials and Tools——This texture is best produced 
by using the plastic materials which have a grain or 
slightly coarse character. When painter-mixed ma- 
terials are used a little fine sand (not beach sand) should 
be added to the mixture. 

The coloring material to use is yellow ochre in dry 
form or ground in oil. 

A calecimine brush is used to apply the material to 
the wall and the brushing ought to be done as evenly 
as possible. When the material starts to set and get 
sticky, which will be in from five minutes to half an 
hour, depending upon the mixture, temperature and 
ventilation, stipple the whole surface with a stippling 
brush. Read Chapter VI about stippling paint and fol- 
low the same method. The job is then ready to be 
marked off with lines, or it may be allowed to dry as 
finished without lining. 

Marking Off the Mortar Joints—To accomplish the 
marking considerable care must be taken or a crude 
effect may result. In the first place mark off guide lines 
on top and bottom and both side edges at distances ex- 
actly measured: Next use a chalk line to snap lines on 
the wall in the vertical and horizontal directions. Two 


275 


HISTORIC AND NEW ROUGH WALL TEXTURES 


Plate 37.—A General 


View of French Caen Stone 


Finish Marked Off in Blocks, 


HISTORIC AND NEW ROUGH WALL TEXTURES 277 


Plate 32.—Old English Plaster Finish as Reproduced with Plastic 
Paint. 


7 j 


279 


HISTORIC AND NEW ROUGH WALL TEXTURES 


&s 


3 Gin, oe 
3 eget Os, 


Plaster Produced with Plastic Paint 


—Early Colonial 


Plate 39 


HISTORIC AND NEW ROUGH WALL TEXTURES 281 


men can do this quickly. Cover the line with chalk. 
Then one man holds the. line on the mark at the top 
of the wall while the other stretches the line and places 
it on the mark at the bottom of the wall. Next, one 
man takes hold of the tightly stretched line, pulls it 
away from the wall about six inches and lets it snap 
back against the wall. Thus a straight chalk mark is 
put on the wall. This operation is repeated on every 
set of guide marks in both directions. 

Having the wall marked off with guide lines take the 
straightedge, shown on Plate 33, with nails in each 
end and place it firmly on the surface along one of the 
ehalk lines. Hold it firmly with the left hand. With 
the right hand drag a blunt tool through the wet paint 
along the straightedge. This blunt tool may be metal 
or a piece of hard wood cut to a scuare edge, about three- 
sixteenths of an inch wide, like a screw driver, or, better 
yet, take a six-inch saw file and smooth both sides at one 
end on a grindstone. Break off about one inch of the 
file- before smoothing the sides. The straightedge may 
be from three to six feet long, whatever size is most con- 
venient to handle. The finishing nails are driven 
through the wood just far enough to hold the wood 
straightedge away from touching the wet paint. 

Old English Plaster—Plate 38. Various textures are 
correctly mentioned under this name as there were nat- 
urally some variations in the finishes used during and 
previous to the fifteenth and sixteenth centuries. 

The sand-float finish commonly used today is one of 
the later developments. It was sometimes called Jaco- 
bean and in America it is referred to also both as Old 
English Plaster and Early Colonial. Note Chapter XI 
for illustrations of sand-float finish. 

Previous to the sixteenth century the plaster finish in 
England is referred to as ‘‘wattle and dab.’’ While 
we have no authentic photographs of that finish, it is 
probable that it‘ had a similar appearance to Plate 38. 


282 INTERIOR WALL DECORATION 


This texture was smoothed by wattling and dabbing with 
the plasterer’s wood trowel and darby shown in Plate 33. 
The material was put on with a calcimine brush. 

Early Colonial Plaster—Plate 39. The early Ameri- 
ean colonial homes were often plastered with a texture 
which is well represented by our sand-float plaster of 
today, described in Chapter XI. It was in some in- 
stances called Jacobean. 

The texture pictured on Plate 39 is an early colonial 
which is a reproduction in Craftex of the old Paul 
Revere house in Boston. 

This texture may be produced by brushing on the 
plastic paint with a calecimine brush in a thick and thin 
manner. When it has set quite a little rub over the 
material in all directions with a bricklayer’s small point- 
ing trowel as shown on Plate 33. Then immediately 
stipple the whole surface with a whisk-broom and after 
that again smooth up the high points here and there 
with the pointing trowel. | 

Spanish Palm Finish.—Plates 40 and 41. As with 
other finishes more than one texture is identified by this 
name. They are the finishes which result from putting 
a stiff, plastic material on the walls with the hands or 
a rough, wood plasterer’s trowel and then smoothing up 
the surface by pressing it into shape with the et of 
the hand. 

On Plate 40 is pictured such a texture as may be 
found in some of the old Spanish Mission Chureh build- 
ings. The work was done in a crude way and apparently 
the very ruggedness of the texture is responsible for its 
charm. 

Palm finish is being used a great deal for hotel lob- 
bies, halls and in other public buildings. 

Plate 41 is also a palm finish produced with Textone 
by first brushing the material on in a slap-dash manner, 
then by roughly smoothing out the material with an 


HISTORIC AND NEW ROUGH WALL TEXTURE 283 


Plate 40.—Spanish Palm Finish Done with Plastic Paint. 


\ . 


285 


HISTORIC AND NEW ROUGH WALL TEXTURES 


ith Hand Brush 


ish Produced w 


in 


—A Palm Fi 


Plate 41 


HISTORIC AND NEW ROUGH WALL TEXTURES 287 


Plate 42.—Close-Up View of Wickham Palm Finish, 


' HISTORIC AND NEW ROUGH WALL TEXTURES 289 


old brush and the palm of the hand the texture was 
gained. 

Palm finishes are usually done with an ivory colored 
material over which a raw umber glaze stain coat is 
brushed as described in Chapter X. While the glaze 
coat is wet the surface is wiped off with a cloth, remov- 
ing it from the high spots and allowing it to remain 
in the depressions. 

Wickham Palm Finish.—Plate 42. A noteworthy tex- 
ture of considerable beauty for panel centers, especially. 
The fine and delicate character of this pattern makes 
it suitable for bed room panels and for use in any 
room of small proportions or where a light texture and 
dainty, fragile effect is needed. This texture has been 
called the Wickham palm finish because it is of unique 
character. From among a great number of artistic tex- 
tures studied by the author no other has been found 
quite like this one produced by George Wickham. Mr. 
Wickham is a most resourceful decorator who is also 
skilled in ornamental plastering. 

Note Plate 48. The working method followed to 
produce this texture by Mr. Wickham, a decorator from 
the shop of R. 8S. Adams & Co., Chicago, was simple, 
but required good judgment in tempering materials and 
an artistic sense of fitness of textures to the room. The 
photograph was taken of a part of a wall panel in a 
bedroom of an average home. 

The materials used was Swedish putty mixed with 
a little more flat wall paint than usual to make it more 
sticky. The plastic putty material was brushed on in 
the usual way, using a flat wall brush. 

When the material had set a few minutes and was 
quite sticky the decorator’s hand was used flat on the 
palm to produce the texture. The palm was pressed 
firmly against the sticky paint and pulled straight away. 
Each time this was done several little rough ridges were 


290 INTERIOR WALL DECORATION 


left on the surface. This was continued until the whole 
panel was interestingly textured. 

The paint, or Swedish putty, to be more accurate, 
on this job was tinted ivory white with raw sienna and 
a touch of American vermilion to add a slight pink 


Plate 43.—A General View of Wickham Palm Finish Used for 
Panel Centers. 


glow. Enough turpentine was used to make it dry with- 
out gloss. 

When the rough texture was thoroughly dry it was 
eiven-a very thin glaze of pink in a few faint clouds 
here and there. The panel mouldings, the stiles between 


291 


WALL TEXTURES 


HISTORIC AND NEW ROUGH 


4 


4 


—Roman Travertine Finish Marked 


Off 


in Blocks, 


HISTORIC AND NEW ROUGH WALL TEXTURES 293 


panels covered with canvas, the electric light fixtures 
and the wood trim all were painted flat with the ivory 
white having the slight pink blush to it. 

This job of rough texture wall finishing was done 
on old smooth plaster walls from which wall paper was 
first stripped off. 


Plate 45.—Close-Up View of Roman Travertine Texture. 


Roman Travertine Wall Fanish.—Plates 44 and 45. 
The travertine finishes are of such ancient origin that 
there is no certainty today about the exact textures. 
The finishes, however, were probably named after the 
rock travertine quarried in Italy for building purposes. 
It is a porous, hght yellow rock which hardens on ex- 
posure. It is extensively used in theaters, clubs, hotel 


294 INTERIOR WALL DECORATION 


lobbies and other public buildings. It is a little less 
formal than Caen stone but is similarly used. 

Materials and Tools——This finish can be produced 
with any of the plastic putty and paint materials. The 
wall shown on Plates 44 and 45 was decorated with 
Craftex. 

The tools required are those pictured on Plate 33,— . 
ealeimine brush, whisk-broom, bricklayer’s trowels. 

The plastic material is brushed onto the wall in the 
ordinary manner, taking care to spread on a thick, even 
coat. When the wall has been coated begin immediately 
to stipple the surface with a whiskbroom, or a coarse 
serub brush. 

Having the whole surface stippled with the whisk- 
broom, allow the material to set slightly then take a 
bricklayer’s trowel and lightly skim over the surface 
with it. Rub the surface in horizontal streaks only and 
bear down on the tool only enough to pile up the mate- 
rial in streaks to form the open pits in horizontal groups. 

When the texture is all worked in the next task is to 
mark off blocks with lines as was described for Caen 
stone. 

After the surface is dry, brush on a thin glaze stain 
coat mixed from raw umber, turpentine and a very 
little boiled linseed oil. Brush this coat out evenly. 
When the stain glaze has all been brushed on rub over 
the surface with a cloth to remove some of the stain 
from the high places, allowing it to remain in the pits 
and other depressions. | 

The plastic ground coat for this finish should be tinted 
a light cream color with yellow ochre or raw sienna. 

Italian Plaster Pinish.—Plates 46 and 47. Many tex- 
tures and color effects may be called Italian plaster, 
but the photographs used for these two plates repre- 
sent one of the popular and beautiful textures. It is 
especially suited to Italian and Spanish architecture and 
harmonizes with the less formal architecture everywhere. 


HiSTORIC AND NEW ROUGH WALL TEXTURES 295 


Plate 46.—General View of Italian Plaster Texture. 


Pug 7 Z 
7 a r fe 7 = 
- y - A fi 
¥ Pare 
~ 5 x 
‘ = : i ; . 
> ‘ 
G ee . -¢ s 
° iS des é , a he 
oy ‘ f s Rhy 7 
» " < 1 Sas 
b- iad + 4 
. 4 = * , F 
: “i 4 ‘ ; : é E - 


HISTORIC AND NEW ROUGH WALL TEXTURES 297 


Materials and Tools—AI] plastic materials mentioned 
ean be used to produce this effect. The material is 
brushed on in the ordinary manner with a wall or eal- 
cimine brush. Next it is stippled, but not uniformly 
all over, with the regular stippling brush shown on 
Plate 33 with the other tools. 

The material is now allowed to set up a few minutes 


r 


Plate 47.—Close-Up View of Italian Plaster Texture. 


to get a bit sticky. Next, an old, short bristied wall 
brush is used in all directions and moving in a semi- 
circular manner. The material is piled up here and 
there by the brush. Allow this texture to set a few 
minutes so it will hold its shape, then with a plasterer’s 
steel trowel lehtly skim over the high places. Light 


298 INTERIOR WALL DECORATION 


touches with the tool will be sufficient to produce the 
smooth areas. 

The ground coat, the plastic material, on this finish 
is tinted ivory white with raw sienna or yellow ochre. 

When the texture is dry the surface is glazed over 
with a glaze stain of a bright yellow color. The stain 
may be mixed from raw sienna with a touch of ver- 
milion or orange chrome yellow. 

When the stain has set a little wipe over it gently 
with a cloth to remove the stain from the high ridges 
and allow the ivory ground color to show through. 

Roman Tile Finsh.—Plate 48. Clay tile was used 
by the Romans for interiors as well as for exteriors. 
The finish of such tile was produced by drawing the 
fingers down through the wet clay. 

This texture has but limited use today, obviously, 
because it has principally a novelty appeal. 

To produce such a texture it is only necessary to brush 
the plastic material on thick, allow it to set a few min- 
utes to become sticky and then drag three fingers down 
through the material. 

Brushed and Smoothed Textures.——Plates 49, 50, 51 
and 52: There appears to be no limit to the variety 
of textures possible of production by manipulating 
brushes. 

The sun parlor pictured on Plate 49 shows what has 
been done under difficult wall surface conditions. The 
large wall in this picture is yellow pressed brick and, 
yet, see how completely the mortar joints have been 
covered with a Swedish putty plastic material mixed 
by the decorator on the job, George Wickham, Chicago. 
Two coats were needed. ‘The first coat was a sand-float 
finish done with the same plastic putty and sand as 
described in Chapter XI. ) 

The second coat on this job was a Swedish putty 
mixed thick without sand as previously described. The 
material was tinted cream color and brushed on with 


HISTORIC AND NEW ROUGH WALL TEXTURES 299 


Plate 48.—Roman Tile Finish Done with Plastic Paint. 


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HISTORIC AND NEW ROUGH WALL TEXTURES 


fe 


301 


ee 


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. 


HISTORIC AND NEW ROUGH WALL TEXTURES 303 


a flat wall brush. The material was allowed to set 
until it became sticky and was then worked into the 
texture pictured on Plates 49 and 50 with an old short 
bristled, flat wall brush. 

The surface was worked over using the brush in a 


Plate 50.—A Close-Up View of the Texture Shown on Plate 49. 


semi-circular manner. Later when the material had 
set more a plasterer’s wood trowel was used to put on 
the finishing touches. The wood trowel was pressed into 
the heavy coat of plastic paint, pulled off straight a 
little and then shifted down or to one side or other to 


304 INTERIOR WALL DECORATION 


drag the material as indicated. The material is easily 
drawn out into sharp points with a wood trowel. 

After the plastic coat became dry it was glazed over 
with a stain coat of dark brown, burnt umber or Van- 
dyke brown. The stain was wiped off judiciously here 
and there to give a clouded or antique effect. See 
Chapter X for glazing method. 

Plate 51 pictures another similar finish. It can be 
produced by brushing on the plastic material as usual 
with a flat wall or ecalecimine brush. Rather a thick 
coating is needed. 

When the material has set a few minutes and is get- 
ting stiff stipple it all over with a whiskbroom or old 
wall stipple brush. Make the surface just as rough 
as possible. When the material has set considerably 
and is very sticky it can be drawn up to sharp, rough 
projections with a stippling brush or a _ plasterer’s 
trowel. Then with the trowel skim over the surface 
to smooth down the roughness in places for the finish. 

The rough coat is colored light as a rule and is glazed 
over when dry with a dark stain coat which is wiped 
out to mottle it. 

Plate 52. In this fect we a: one which is very 
rugged and which is suitable only for large rooms. The 
texture is very contrasty. 

This finish is produced by coating the surface with 
the plastic material, using a flat wall brush or calcimine 
brush. 

When the material has set a little stipple it all over 
with the stippling brush (Plate 33). 

Next take an old stiff wall brush or whiskbroom and 
use it in half circles as indicated by the picture. Let 
the brush plow up a pile of material at the end of each 
stroke. Draw this pile to sharp points by pulling the 
brush straight away from the surface at the end of 
each stroke. Let the material dry in this texture. Then 
with a piece of No. 1 sandpaper on a block of wood rub 


HISTORIC AND NEW ROUGH WALL TEXTURES 305 


Plate 51.—A Brushed and Smoothed Texture Produced with Plastic 
Paint. 


alls. 
4 
i 
BS 
1 
1 
a 


% 
‘ 
’ 
- 


vw 


HISTORIC AND NEW ROUGH WALL TEXTURES 307 


Plate 52.—A Very Rugged Texture Produced with Plastic Paint 
Manipulated with a Brush, 


HISTORIC AND NEW ROUGH WALL TEXTURES 309 


down the high projecting points just enough to smooth 
them off a little. 

Plate 53 shows the refinished wall and staircase of 
an average home. The wood staircase was dark golden 
oak before being refinished. The old varnish, stain and 
filles were stripped off; the wood was bleached, stained 
gray, shellaced and filled with white filler. The final 
finish was very light colored varnish on the stair treads 
and wax on the balance of the wood. 

The walls are smooth plaster from which the old wall 
paper was stripped. After repairs to cracks and holes 
a coat of plastic Swedish putty material was brushed 
on, stippled with a brush and worked up as rough as 
possible with an old short flat wall brush. Then it was 
allowed to dry thoroughly. 

A second coat of plastic putty was next brushed on 
thick and a plasterer’s trowel was used to produce the 
rough texture indicated in Plate 54. When the coating 
was quite sticky, after being on the wall a few minutes, 
the trowel was pressed into the coating and pulled 
straight out again, thus drawing the material to the 
sharp rough points noted. 

This wall was glaze-coated in brown over the cream 
colored rough coat. 

Combed Texture Finishes—Plates 55, 56 and 57. 
These textures have rather a novel appeal and also serve 
to apparently increase the height of a ceiling. It is 
rather too rugged for small rooms but is very attrac- 
tive for large rooms, especially where a new and rad- 
ieally different treatment is wanted. 

The plastic wall finishing material is brushed on as 
usual with a flat wall or caleimine brush. When the 
material has set a wire brush, large comb or whiskbroom 
is dragged through as nearly verticle as possible to 
line up with the corners of the room. That is all there 
is to doing this texture, except coloring the plastic 
ground coat and glazing on top of it or not as preferred. 


310 INTERIOR WALL DECORATION 


Plates 55 and 56 show finishes done with a wire clean- 
ing brush. Plate 57 shows a similar finish done with 
a whiskbroom. 

Brushed Rough Wall Textures—Plates 58 and 59. 
These are the most simple of rough wall textures done 
with plastic materials. The material is brushed on with 
the flat wall or calecimine brush and allowed to set a 
few minutes. Then the texture is brushed in. 

Plate 58 was simply stippled evenly all over with 
a stippling brush. Note Chapter VI for the stippling 
method. 

Plate 59 shows a texture produced in the same way 
except that a whiskbroom was used with short strokes 
in all directions as indicated in the picture. 

Sponge -Stippled Rough Textures. — Plate 60. This 
very rough texture looks like embossed leather when 
the ground rough coat is colored ivory and a elaze stain 
of dark Vandyke brown is used to finish. Sometimes 
also the surface is coated with gold or copper bronze 
before the brown glaze is brushed on. That makes a 
novel and interesting finish for panel centers, dados 
and other limited areas. | 

This texture is produced by brushing on a thick, 
smooth coat of plastic wall material with a flat wall 
or caleimine brush. When the coating has set a few 
minutes it is stippled with a large sea wool sponge. 
The sponge should be soaked in water to fluff it up 
before using. | 

‘Linger Rough Textures——Plates 61 and 62. When- 
ever a call comes for a novelty or bizarre wall treat- 
ment the texture pictured by Plate 61 should be seri- 
ously considered. It is not suited to large surfaces 
as the stippling proceedy slowly. . 

This texture, and that in Plate 62, is started by brush- 
ing on a heavy coat of plastic material, using a flat 
wall brush or a calcimine brush. When the material 
las set alittle the texture in Plate 61 is produced by 


HISTORIC AND NEW ROUGH WALL TEXTURES 311 


Plate £3.—An Exceedingly Rough Texture Produced with a Plastic 
Paint on a Smooth Plaster Wall. 


© 
‘ 


HISTORIC AND NEW ROUGH WALL TEXTURES 313 


Plate 54.—A Close-Up View of the Rough Texture Shown in 
Plate 53. 


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315 


HISTORIC AND NEW ROUGH WALL TEXTURES 


Line Rough Texture Produced with Plasti 


Brush. 


Paint and a Steel Wire 


b 


Plate 55.—A Vertical 


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HISTORIC AND NEW ROUGH WALL TEXTURES 317 


making prints of the index finger in the surface as 
indicated. 

The texture of Plate 62 was also produced by using 
all the fingers of one hand in a circular manner as 
indicated. 


Plate 56.—A Close-Up View of the Texture Shown on Plate 55. 


Plate 61 makes a strikingly beautiful effect when 
used for panel centers and when coated with aluminum 
bronze. Over top of the bronze a glaze coat of peacock 
blue may be brushed and stippled with a wad of cheese 
cloth. 


HISTORIC AND NEW ROUGH WALL TEXTURES 


Plate 57.—A Rough Vertical Texture Produced with Plastic 
Using a Whiskbroom. 


Paint 


321 


HISTORIC AND NEW ROUGH WALL TEXTURES 


Rough Stipple Texture Produced with 


an Ordinary Stippling Brush. 


—A Conventional 
Plastic Paint and 


Plate 58 


~. 


* ote 


HISTORIC AND NEW ROUGH WALL TEXTURES 


Plate 59.—A Rough Texture Representing the Gothic 
Produced with Plastic Paint. Texture Worked In 
a Whiskbroom. 


Period 
with 


HISTORIC AND NEW ROUGH WALL TEXTURES 


Plate 60.—An Interesting Texture Produced by Stippling a Rough 
Coat of Plastic Paint with an Ordinary Sponge. 


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HISTORIC AND NEW ROUGH WALL TEXTURES 327 


Plate 61.—A Novelty Texture Produced by Making Finger Prints 
in a Heavy Coat of Plastic Paint. 


329 


HISTORIC AND NEW ROUGH WALL TEXTURES 


Plate 62.—An Exceptionally Beautiful Rough Texture Produced by Manipulating a Very Heavy Coat of 
Plastic Paint with the Fingers. 


ae 


oy 


CHAPTER XVI 
LACE STENCIL WALL FINISHES 


At several periods in the history of decoration sten- 
eiled wall patterns have enjoyed considerable popular- 
ity. The cycle of popular interest undoubtedly is again 
sweeping on from severely plain painted surfaces to 
those which are more colorful and which show artistic 
textures and patterns. 

And it is quite likely that stenciled wall decreas sta 
may be much more employed during the next few years. 
There never has been a period, of course, when stencils 
have not been employed to some extent both as frieze 
bands, spot designs and for all-over patterns to com- 
pletely cover the wall surfaces of a room. During the 
last few years stencil decoration employing diaper sten- 
cils for all-over patterns have been rather strictly lim- 
ited to theaters and other large public buildings, along 
with some of the higher-priced residences. 

In the hands of decorators of good taste and discrim- 
ination stencils are capable of producing distinctive, 
artistic and unusual decorative effects. 

The decorators’ craft today is indebted to S. T. Bal- 
linger, a master painter, and The New Jersey Zine Co., 
for whom he developed an improvement in stenciling 
certain conventional and tapestry designs on walls. Mr. 
Ballinger has perfected a method which employs lace 
curtain materials as stencils for producing very effec- 
tive and artistic wall decorations. 

331 


332 INTERIOR WALL DECORATION 


By the use of lace curtain material for stencils it is 
possible to transfer more delicate and intricate conven- 
tional designs than are commonly used with paper 
stencils, except those produced by Japanese decorators. 
And the lace stencils can be made in much larger sizes. 
A lace stencil is more durable, naturally, than a paper 
one. 

The limitations of this method are those of variety 
of designs. In paper stencil designs of a great many 
kinds are adapted, while in this new method the decora- 
tor is limited to such designs as are found in lace; con- 
ventional classic and tapestry motifs. These are numer- 
ous, however, in detailed differences, although all are 
confined to two or three types of design. 


THE WORKING METHOD 


Tools.—Lace curtain materials can be purchased by 
the yard. The laces and nets come in rolls of many 
yards and in varying widths from 30 to 40 inches. Some 
such laces are expensive, but it is not necessary to use 
high priced materials; the market affords almost unlim- 
ited patterns of conventional and classic tapestry pat- 
terns in inexpensive lace curtain materials. Prices 
range from 20¢ per yard to two and three times that 
much. 

Other tools needed are a stencil brush which may be 
of the regular type, or a round or oval pound brush 
of such a kind as has long been used for painting large 
surfaces. A plumb bob and line and some glass push 
pins together with mixing pots for color complete the 
list of tools needed. 

Selection of Designs.—Choosing laces for stencils ac- 
cording to character of designs wanted is largely a mat- 
ter of personal preference, yet some patterns are much 
better than others for use as stencils. In Plates 63, 


LACE STENCIL WALL FINISHES 333 


638A, 64, 64A and 65 are shown several suitable lace 
patterns which give an idea of what should be used. 
Making the Stencil_—The size of the stencil will vary, 
depending upon the size of the lace design and how 
much of the design should be included in the stencil. 
Where the pattern breaks conveniently ought to be con- 


Plate 63.—A Lace-Curtain Stencil Stretched on a Wood Frame and 
Being Coated with Shellac. 


sidered also in cutting the lace and deciding on the 
size of the stencil. Also the size of the wall, panel or 
frieze to be decorated has a bearing, not only on the 
size of the stencil made, but on the size of the design 
or motif selected. | 

The first step in making the stencil after selecting the 


334 INTERIOR WALL DECORATION 


lace design is to make a wood frame upon which to tack 
the lace for stretching before giving it a coat of shellac. 
Ordinary carpet tacks may be used for this, or the 
glass push pins sold by art stores for use in hanging 
pictures on a wall are much more convenient to work 
with. 

The frame upon which to tack the stencil may be 
made from what the lumber yards eall screen stoek— 
11g x 2 inches for fly screens. This is straight and light 
weight. Make the frame a little larger than the stencil 
design, of course, an inch or two is enough. Simply 
butt the corners of the lumber and nail with ten penny 
finishing nails. The frame may be as long as the sten- 
ceil as a rule, but some stencils may be so long that it 
is best to use them without the frame in transferring. 
Then when shellacing a frame half, one-third or one- 
fourth as long may be used; planning to shellac the 
stencil in two, three or four operations, one part at a 
time. | 

Having the frame made, to fasten the stencil to it 
is the next operation. ‘Tack down all four edges of the 
lace; or better yet, secure them with glass push pins. 
The lace should be fastened to the frame first and cut 
off around the outside edges later. The design ought 
to come well inside of the. wood frame. The lace 
should be stretched so that the design is not distorted ; 
that is, the pattern ought to run square and parallel 
with the frame and the frame should be square. Ob- 
‘viously no sags or wrinkles must be permitted in the 
lace. 

The next step is to brush on one heavy coat of orange 
shellac to each side of the lace. Be very eareful to 
brush the shellac so that no holes in the lace are filled 
or bridged over with shellac. This is very important 
to assure the transfer of a continuous and complete 
pattern with the stencil. When the shellac is dry and 
hard the stencil is ready for use. The shellac makes 


335 


LACE STENCIL WALL FINISHES 


= 
ee 
= 


seeiessies 


seater. 


Moderately 


ina 
Dark Color onto a Light-Colored Ground Coat. 


Transferred 


Plate 63A.—A Lace-Curtain Stencil 


337 


LACE STENCIL WALL FINISHES 


wo 


bse afte 


fis 


ing Brush or a 


Ipp 
Round Pound Brush for Transferring a Lace Stencil to a 


St 


ing a 


the Method of Usi 


ing 


.—Showi 


Plate 64 


Wall in Color. 


te 


Pra 


LACE STENCIL WALL FINISHES 


af 


oe ee th p44: 


aT 


83k 


aE 


Kaos 
DOSE: 


Sy 


ce 


eH 

by 
4: 
a 


aa 


oe 
3 
ie 
: 


ry 
PERE 


mses iti 


H 
dat 


ats» 


Design Suitable for Wall 


in Stencil 


Curta 


.—Another Lace 


te 64A 


Pla 


Panels 


© 


LACE STENCIL WALL FINISHES 341 


the design sufficiently rigid and holds it in shape, yet 
the stencil as a whole is flexible and can be rolled up 
on a broom stick. The shellac also protects the lace 
from injury. 


Plate 65.—Large Lace-Curtain Stencils May Be Rolled While Being 
Transferred to the Wall. 


The stencil when completed may be used while fast- 
ened to the frame, or it may be removed from the frame. 
After the edges are all trimmed neatly and square it 
may be fastened to the wall with push pins while the 
design is being transferred to the wall. When the sten- 
cil is used off the frame it may be rolled up on a broom 
stick or window shade roller for convenience in handling 
and for protection when not in use. 


342 INTERIOR WALL DECORATION 


The ability to use the stencil unattached to the frame 
is a great convenience, since it permits the decorator to 
work the pattern up close into corners, next to mould- 
ings and on irregular surfaces. 

Preparatory and Ground Colors.—lLace stencils be- 
cause of their intricate and delicate designs are most 
useful on smooth plaster walls and on other smooth sur- 
faces. The patterns of some of the bolder designs may 
be transferred to rough sand finished walls. 

The wall to be decorated with stencil pattern should 
be built up the same as any painted wall. All prepara- 
tory work on cracks and holes must be done as described 
in Chapter IV. 

On new walls two coats of paint with a size coat be- 
tween are essential for best results. Old painted walls 
in hight colors may be made ready for stencil treatment 
with one coat of paint. 

The ground color may be any color wanted. It may 
be very light for transferring a stencil pattern in darker 
colors; or it may be dark for transferring a stencil pat- 
tern in light colors. 

The ground color may be mixed to dry flat for gloss 
stencil color. or flat stencil color. Also the ground color 
may be gloss paint or gloss enamel upon which the 
stencil is transferred in flat color, thus producing a silk 
effect because the light reflects on the ground coat. 

All flat and semi-flat ground colors ought to be stip- 
pled as described in Chapter VI. 

Pure white, ivory white, cream, light blue, gray, pink 
and green are ground colors commonly used. 

Stencil Colors.—The color to use for transferring the 
stencil to the surface may be opaque, one which hides 
the surface like any paint, or transparent like glazing 
colors. 

The stencil color may be mixed to dry flat on a flat 
ground or it may be flat to go on a glosg ground, but 
never gloss for a gloss ground. 


LACE STENCIL WALL FINISHES 343 


Bronze powders mixed with the usual bronzing liquids 
may be used for the stencil color on flat paint grounds. 

Opaque colors may be any flat or gloss paint mixed 
rather thick. 

Transparent colors are those used for glazing, such as 
Prussian, cobalt and ultramarine blues, chrome green, 
raw and burnt sienna, raw and burnt umber and all 
the colors listed as glaze colors in Chapter X. 

Such glaze colors are to be thinned with turpentine 
only for stencil use as flat color and with one-fourth 
turpentine and three-fourths linseed oil or interior var- 
nish for gloss stencil color. The color should not be 
mixed too thin—a little stouter than ordinary brushing 
consistency is correct. 

Transferring the Stencil—tThe first step is to meas- 
ure out your surface to see that the stencil is going to 
begin and end to look well from the standpoint of com- 
pleteness of the stencil pattern. This can usually be 
manipulated by dividing the total run of surface in 
inches by the length of the stencil in inches. 

Having determined where to start the stencil the next 
step is to mark guide lines on the wall to be sure the 
stencil can be made to run straight and parallel to the 
floor or picture moulding in the case of frieze band 
and other band stencils; or that the stencil will be run 
vertical and plumb with the corners, door and window 
casings. | 

A chalk-line stretched in a horizontal position will 
give you the guide lines to be marked with chalk or a 
pencil. 

A plumb bob and line will enable you to run the ver- 
tical lines true. But check your corners carefully. 
They are supposed to be plumb, but they are not al- 
ways so. You may have to gain or give a little off the 
plumb line to make your stencil vertical lines look well 
with the corners. 


344 INTERIOR WALL DECORATION 


For marking off panels a six foot straight-edge de- 
seribed in Chapter XVIII is useful. 

With all guide lines marked the stencil may be se- 
curely fastened in place with push pins or ordinary 
pins. 

Now assuming that the stencil color has been mixed, 
dip the stencil brush into it about half an inch only. 
Wipe out the color from the brush as much as possible. 
This is very important. None but a comparatively dry 
brush will transfer the stencil color so as to avoid blots 
and runs. Some decorators never dip the brush into the 
eolor, but rather run the color on to a flat board with 
aaaien brush and then pick ue color on the stencil 
brush from the board. 

To transfer the stencil pound it with the brush, using 
the brush like a hammer at first. With a litle ex- 
perience you can use the brush in a semicircular man- 
ner and make faster progress, but that may get a new 
hand into trouble with too much color and runs of color 
if he doesn’t take care. 

If the stencil used doesn’t reach from corner to ecor- 
ner of the wall, or from picture mould to baseboard on 
vertical stretches, it will have to be lifted one or more 
times to continue the design. Then great care must be 
taken not alone to keep the second setting of the sten- 
eil on a straight line but also to make each setting join 
up perfectly with the previous pattern transferred to 
the wall. 

A stencil may be transferred in only one color, or 
several glaze colors may be used in the same manner 
as to stippling as was described in Chapter X; that is, 
by blending two or more colors together. The colors 
are first put on with a stencil brush for each color, and 
when all colors are on, a wall stippling brush is used 
to blend the colors together. 


CHAPTER XVII 
SPRAY GUN DECORATIVE FINISHES 


The working methods essential to the production of 
Tiffany blending, mottling and glazing were given in 
Chapter X. As described there these finishes are ac- 
complished by hand stipple methods. Similar blends 
and mottles can be done with the spray gun, and done 
much more rapidly on smooth or rough surfaces using 
the same glaze color. Notes Plates 13, 13E and 16 in 
Chapter X. Opaque colors also may be used in the 
spray gun to produce mottles and blends. 

And in Chapter XV a number of rough textures pro- 
duced on smooth and rough walls with plastic paint 
compositions were described. Some of these artistic 
rough textures can be reproduced with spray guns using 
exactly the same plastic paint compositions. Further- 
more, a great variety of other textures can be produced 
with spray guns. 

Such rough textures done with spray guns range all 
the way from simple formal grain stipples, such as are 
produced with a stippling brush, to very rugged coarse 
textures suitable for large rooms. One of the remark- 
able facts about decorative finishes done with a spray 
gun is that they are done many times faster than hand 
work. Much time and labor cost are thus saved. 

Spray gun textures of many other types may be 
produced. Beautiful spatter finishes similar to those 
described in Chapter XIII are produced with a spray 

345 


346 INTERIOR WALL DECORATION 


eun in one or several colors in a remarkably short time 
using the same paints and colors as are employed in 
hand brush spatter work. Plates 28 and 29, Chapter 
XIII, illustrate interesting spatter finishes. 

Still another type of spray gun decorative finishes 
may be called novelty treatments. They are useful 


sectional 
views 


Plate 66.—The DeVilbiss Spray Gun Showing Round and 
Fan-Shaped Sprays of Material. 
principally for window display back grounds, theater 
stage scenery, display cards, picture mat boards, panel 
center decorations on walls, walls of sales rooms, con- 
vention booths, retail shops, cafe and restaurant walls, 


347 


HES 


CORATIVE FINIS 


E 


1 


SPRAY GUN D 


Plate 67 


.—The Paasche Air Brush 


N 


Fe 3) (eft). 


The Willard C. Beach 


Air Brush A-1. 


349 


SPRAY GUN DECORATIVE FINISHES 


PERO, 


Plate 67A.—The Binks Spray Gun 


No. 105 (Left). T he Spray 


Engineering Company Gun No. P-6 (Right). 


SPRAY GUN DECORATIVE FINISHES . 351 


Plate 67B.—A Complete Spray Gun Outfit Suitable for Plain and 
Decorative Wall Finishing, Furniture Finishing, Enameling 
and Automobile Painting. The Equipment Includes on the 
Truck, the Air Compressor, the Air Storage Tank, the Electric 
Motor. Above Are Shown the Material Tank, Pressure Regu- 
lator, Material Hose and Airline Hose, the Spray Gun, and 
to the Right, a One-Quart Size Material Tank Which Can Be 
Attached to the Gun When Small Amounts of Color Are Used 
and Frequent Changes of Color Are Made. 


aa 


\ 


SPRAY GUN DECORATIVE FINISHES 353 


tea rooms and many similar surfaces which need a novy- 
elty or bizarre treatment more striking than the for- 
mal and informal decorative treatments preferred for 
homes and dignified public buildings. 

Such novelty treatments are similar to those pictured 
in Plates 68, 69, 70 and 75 sprayed on with a Binks 
No. 100 Spray Gun. 

Plates 71 and 74, sprayed with the same gun, are of 
the more restrained, informal type suitable for walls 
in homes. 

Pidteata, io, (6,17, (7A, and 77B are finishes 
sprayed on with a DeVilbiss gun. All are of the con- 
servative character of finishes suitable for walls in 
homes and public buildings alike. 

Plates 77C and 77D are sprayed-on finishes done 
- with the plastic material called Compostipl, described in 
Chapter XV. 

Materials Used—For producing Tiffany glazed, mot- 
tled and blended wall treatments using spray guns the 
essential materials are the glaze colors described in 
Chapter X. There is no need, however, to use a glaz- 
ing liquid.. The colors may be thinned with benzine 
or turpentine and very little oil is needed. 

The ground color coats are sprayed or brushed on and 
mixed to dry flat. The glazing color may be mixed 
quite thick or thin—different effects result from each 
mixing. The color is put into the material container of 
the spray gun and you are ready to apply the color 
coat. The manufacturers of each kind of spray gun 
issue instructions for using their tools and these should 
be carefully followed. The manufacturers will also 
gladly give you any special instruction or information 
needed to produce standard painted, enameled, var- 
nished, stained or lacquered finishes, for the use of other 
materials or the production of novelty finishes. 

Materials needed for producing rough textured and 
stippled decorative wall finishes. are those described in 


354 INTERIOR WALL DECORATION 


Chapter XV. Other materials used for temporary dec- 
orating as on window display backgrounds in retail 
stores, theater stage scenery, show cards and similar 
surfaces are these: 


—mixtures of cheap glue and water; 
—ymixtures of glue, water and whiting; 
—mixtures of glue, water and dry rosin; 
—mixtures of glue, water, rosin and whiting; 
—clear lacquers ; 

—lacquer enamels. 


Tools Used.—There are on the market a number of 
high class spray guns which are capable of producing 
beautiful decorative wall textures, glazing, mottling and 
blending of colors. Space is too limited to illustrate all 
such equipment so only one or two are pictured to give 
some idea of the type of spray gun used. The author 
recommends that those who are not familiar with spray 
gun tools make a eareful study of all such equipment 
on the market before making a selection. Spray guns 
as a class are vastly improved over their state of de- 
velopment a few years ago and the equipment put out 
by reliable manufacturers performs with a high degree 
of efficiency today. 

Plates 66 and 67 illustrate the types of spray guns 
used for wall finishes. The guns having detachable pint 
and quart metal material cups—or, ordinary glass mason 
jar material containers are best suited for finishing 
furniture, automobiles and many items of merchandise 
to be decorated with paints, enamels, varnishes, lacquers, 
bronzing materials, stains, fillers, ete., also for wall 
finishes where a small area of surface is to be coated 
or where many changes of color occur. The cup type 
of gun may have a siphon feed of material or pressure 
feed. Siphon feed is best only where a very fine atomi- 
zation of material is wanted; it will not draw up more 
material than it can atomize. 


SPRAY GUN DECORATIVE FINISHES 355 


The plastic paint materials used are often mixed 
nearly as thick as putty to produce very rough textures. 
This very thick material will flow through the material 
hose used in connection with large material tanks hold- 
ing several gallons, but, obviously, more air pressure is 
needed on the material in the tank than for thin paint 
or varnish, Such tanks are used with air pressure on 
the material with spray gun outfits suitable for spray- 
ing large plain surfaces with paint, stain, mill whites 
or calcimine on exterior and interior house painting, 
the decorating of factory brick and cement walls ete. 

This heavy plastic wall paint material will not flow 
through the gravity material supply tanks used so 
much in furniture factories and other industrial plants 
where the spray gun is used for painting, enameling, 
_ varnishing, lacquering, filling and staining all manner 
of merchandise from automobiles to ladies’ hats, from 
sewing machines to caskets. 

The spray guns with pressure feed material tanks 
holding several gallons of material can be efficiently 
used for decorative wall finishes where materials of 
any consistency are used, and, indeed, they are essen- 
tial for finishing surfaces of large area. 

The spray gun equipment needed for producing dec- 
orative wall textures consists of a spray gun, one or 
several quart size material cups or larger pressure ma- 
terial tank, air compressor, air storage tank and motor 
or engine power unit, pressure regulator and sufficient 
rubber air hose to enable you to reach the walls of a 
room conveniently. 

Some decorators purchase these units mounted on 
skids on a small automobile truck. That makes trans- 
portation easy. Sufficient air hose is needed to reach 
from the street into all rooms to be decorated. 

All manufacturers of spray guns also furnish small 
trucks with wheels upon which the motor or engine, 
compressor, air storage tank and oil and water separa- 


356 INTERIOR WALL DECORATION 


tor, ete., are mounted. This truck is carried to the job 
by wheeling it into the truck. It is then unloaded and 
earried into the building or used outside of the build- 
ing nearby. 

Working Methods.—The methods to pursue for pro- 
ducing decorative wall finishes and the materials used 
are practically the same for all spray guns. There are, 
however, some differences to be noted in the adjustment 
of various guns. For this information the decorator 
must rely strictly upon the instructions issued by the 
manufacturer of the particular spray gun he is using. 

The various decorative wall textures are produced by 
using different kinds of plastic materials, by mixing 
these materials thick for some textures and thin for 
others, by using a low atomizing pressure for some tex- 
tures and high pressures for others. The amount of 
air pressure on the material tank and the height of 
the gun above the material tank also influence the tex- 
ture produced. The air pressure on the material may 
vary from a few ounces to many pounds, depending 
upon the consistency of the material and how high 
above: the material tank the gun is being used. Then 
the distance the gun is held from the surface and the 
manipulation of the trigger on the spray gun also in- 
fluence the character of the texture produced. A round 
spray is used for some textures while a flat fan-shape 
spray produces others. The most important points to 
remember are that variations in textures are made by 
(a) changing the atomizing pressure at the nozzle, (b) 
changing the air pressure in the material tank. 

By way of illustration—a thick mixture of material 
sprayed with a low atomizing pressure of from 25 lbs. 
to 40 lbs. will spray the material out in gobs or clods, 
forming texture similar to Plates 69 and 70. A high 
pressure—from 50 lbs. to 65 Ibs., will spray. the same 
thick mixture and a thinner one to produce a finer 
texture similar to Plates 71 and 73. 


SPRAY GUN DECORATIVE FINISHES 357 


Plate 68.—A Beautiful Decorative Finish Produced with a Spray 
Gun. 


SPRAY GUN DECORATIVE FINISHES 


Plate 69.—A Novelty Wall Finish Produced with Lacquer Enamel 
Put on with a Spray Gun. 


x 
‘ 


SPRAY GUN DECORATIVE FINISHES 361 


Plate 68. This finish was sprayed on using glue and 
water to produce the rough texture. Then dry alum- 
inum bronze was sprayed on and the composition plaster 
east border was glued in place. The flowers on the 
border were then touched up with a little dull red and 
blue-green glaze color; then a thin flat black was sprayed 
on and the highlights were wiped out with a cloth, leav- 
ing the black only in the deep depressions. This finish 
ean be produced better for wall surfaces with plastic 
paint compositions. 

Plate 69. A dull red flat ground color coat was 
sprayed on to this surface. Then the material container 
of the spray gun was filled with an ivory colored lacquer 
enamel. The lacquer was sprayed with a low pressure, 
giving the interesting pattern noted in this picture. A 
novel and serviceable finish suitable for some special 
purposes. 

Plate 70. <A novelty finish of rare beauty. Suitable, 
of course, only for limited areas of wall such as in 
panel centers, dados or for some special surface as on 
window trim backgrounds for retail stores. 

The material used in producing this pattern with the 
spray gun set at a low pressure for atomizing was glue, 
water and dry rosin melted into the glue while hot. A 
somewhat similar treatment can be produced with plas- 
tic paint compositions but the material cannot be drawn 
out to such fine cobweb lines. The plastic paint compo- 
sitions are more durable and more practical for use 
on walls. Walls given a heavy coat of glue in clods of 
this character in a humid climate would no doubt re- 
lease an unpleasant odor, also any room not constantly 
well ventilated would suffer from such a glue treatment. 

This finish produced with glue and rosin, however, is 
suitable for temporary decorations, such as stage set- 
tings, display cards, window trim backgrounds, ete. 
The color scheme on this finish is a gold bronze ground 


362 INTERIOR WALL DECORATION 


with clouds of Vandyke brown, dull red and green 
blending in. 

Plate 71. In this we have a beautiful artistic stip- 
ple finish which cannot be produced in any other man- 
ner than with a spray gun. The picture doesn’t begin 
to do justice to this finish because it doesn’t convey to 
you the marvelous play of light and shadow and the 
color of the texture nor the unusual and delicate lace 
pattern effect of the under-surface. 

This finish was produeed with plastic paint composi- 
tion such as is described in Chapter XV. The material 
was mixed only fairly thick; it was sprayed on and 
when a rather rolling, smoothly rugged texture was 
gained the material supply was cut off and only com- 
pressed air was blown on to the wet paint. The air 
formed the delicate lace pattern in the under-surface 
which holds great charm for the eye of artistic appre- 
ciation, The paint is cream color only on a flat ground 
-eolor of dull chocolate brown, but the effect is of many 
shades and tints of that color. 

Plate 72. An interesting texture. The material was 
sprayed on sparingly and did not completely cover the 
ground color. The material used was the thick pig- 
ment from the bottom of a can of flat wall paint. A 
low pressure was used which did not atomize the 
material. | 

After the thick texture coat was dry it was given a 
thin glaze stain coat and allowed to dry. Then the 
surface was lehtly rubbed over with fine sandpaper 
to eut off the high and sharp projections. 

Plate 73. A fine-grained stipple finish which is 
suitable for use on nearly any wall surface and for 
ceilings, especially. Quite similar to stippling done with 
a regular stippling brush on plastic paints and yet the 
spray texture has an alluring character all its own. 

The material used was the thick pigment from flat 
wall paint—a light color on a ground color of a little 


SPRAY GUN DECORATIVE FINISHES 363 


Plate 70.—An Unusually Beautiful Novelty Texture Suitable for 
Wali Panels, Put on with a Spray Gun. 


SPRAY GUN DECORATIVE FINISHES 365 


Plate 71.—An Interesting Wall Finish Produced with a Spray Gun 
and Plastic Paint. 


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ft 


SPRAY GUN DECORATIVE FINISHES 367 


Plate 72.—A Rough Texture Put on with a Spray Gun, Using Thick 
Flat Wall Paint. 


SPRAY GUN DECORATIVE FINISHES 369 


Plate 73.—A Very Fine-Grained Stipple Texture Put on with a 
Spray Gun. 


SPRAY GUN DECORATIVE FINISHES atk 


Plate 74.—An Unusual Rough Texture Done in Brown, Green and 
Gold. The Plastic Paint Was Sprayed On. 


Plate 75.—A Rather Massive and Rugged Texture Produced with 
Plastic Paint Put on with a Spray Gun. 


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SPRAY GUN DECORATIVE FINISHES 375 


Plate 76.—A Reproduction of the Stucco Finish Commonly Done 
with Portland Cement. Produced with Thick Flat Wall Paint 
Put on with a Spray Gun. 


SPRAY GUN DECORATIVE FINISHES 377 


darker hue. <A fairly high atomizing pressure was 
needed to gain this texture. 

Plate 74. An exceedingly rough texture suggestive 
of a rustic autumn leaf background. 

The material used for the texture was glue and water 
only with a low pressure at the spray gun nozzle. When 
the rough texture was dry a coat of copper bronze was 
sprayed on and then here and there a cloud of dull 
green was blended in with the spray gun. 

Plate 75. This texture was produced in the same 
manner as that pictured in Plate 74 except that a finely 
eround plastic paint texture was used and the material 
was piled on a little more and allowed to smooth out 
in patches. 

Plate 76. A rugged texture very much like exterior 
portland cement stucco texture. Flat wall paint thick 
pigment was used. The pressure at the nozzle of the 
spray gun was high enough to completely atomize the 
material. The paint was piled up to completely cover 
and hide the surface below. 

Plate 77. <A useful and very attractive texture simi- 
lar to that pictured in Plate 72. Produced in exactly 
the same way but the surface was not sandpapered 
when dry. Material was sprayed on sparingly and 
doesn’t completely cover the ground color. 

The texture coat is lighter in color than the ground 
coat. ‘The material used was thick pigment from flat 
wall paint. 

Plate 77A. A _ beautiful textile wall finish pro- 
duced with ordinary flat paint mixtures. The ground 
color was light and flat. Darker colors were spattered 
on with a spray gun and while still wet a dry badger 
blender brush or caleimine brush was dragged through 
the paint from side to side and from top to bottom. 

A low atomizing pressure was used to cause the spray 
eun to spatter the dark colors; in other words, the 
dark colors were not atomized at the nozzle. 


378 INTERIOR WALL DECORATION 


Plate 77B. The same kind of finish as is pictured 
by Plate 77A. Produced by the same method except 
that the badger blender brush was drawn over the wet 
paint spatters only one way—from top to bottom. 

Plate 77C. This pictures a very tough and durable 
wall finish put on with a spray gun using a plastic 
paint called Compostipl. (See Chapter XV for de- 
scription.) This material ean be had in any color. 

The finish from which this plate was made was pro- 
duced with a cream colored texture coat. Then dry 
aluminum bronze was sprayed on. After the bronze 
was dry a thin coat of black ground in Japan and 
thinned with turpentine was sprayed on. While wet 
the surface was wiped over with a cloth to remove the 
black from the high spots and allow the aluminum 
coat to show through. 

Plate 77D. <A rough-texture wall finish of uncom- 
mon beauty. Produced with a spray gun using a 
plastic paint called Compostipl. (See Chapter XV for 
deseription. ) 

The rough texture coat is cream color. The pressure 
at the gun nozzle was not enough to atomize the paint. 
The surface was only partly covered. When dry a 
eoat of thin white shellac was sprayed on so the last 
eolor would wipe off clean and easy. Then when the 
shellac was dry a thin coat of Vandyke brown Japan 
color thinned with turpentine or benzine was sprayed 
on. To finish the surface it was wiped over with a 
cloth to remove the dark brown from the high spots. 


SPRAY GUN DECORATIVE FINISHES 


Plate 77.—A Rough Texture with an Interesting Pattern Made by 
Spraying on Flat Wall Paint. 


381 


SPRAY GUN DECORATIVE FINISHES 


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SPRAY GUN DECORATIVE FINISHES 383 


Plate 77B.—A Finish Similar to 77A Except That the Color Was 
Blended One Way, Instead of Both Ways. 


Plate 77C.—A Spray Gun Finish Produced with Plastic Paint. A 
Rather Conventional Texture Useful for Panel Centers and 
Wall Surfaces Below Chair Rails and Plate Rails. 


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SPRAY GUN DECORATIVE FINISHES 387 


Plate 77D.—A Finish Similar to That Shown on Plate 77C but 
with a Finer Texture. 


CHAPTER XVIII 
HANGING AND PAINTING WALL FABRICS 


The covering of smooth plaster walls with such fab- 
rics aS canvas, muslin and burlap is a practice of long 
standing, especially when the walls are to be given 
expensive decorative treatments. Fabrics can also be 
used on wall board: walls, but not on rough plaster, 
obviously. 

Smooth plaster walls are bound to show settlement 
eracks and also more or less cracks and holes from fur- 
niture bruises, ete. After a wall has been patched in 
everal such places and, indeed, if patched by any but 
the most careful and skillful workmen, it is quite im- 
possible to do a good job of decorating on it, at least 
a job which will not reveal the cracks and holes in un- 
sightly ridges or depressions. Some walls also show 
a tendency to chip off because the plaster was not 
properly mixed. 

The most satisfactory treatments for such walls are 
two. They may be covered with a fabric which may 
be painted and decorated or stained. Or the walls may 
be given one of the rough texture treatments without 
covering with a fabric—such treatments as are de- 
scribed in Chapters XI and XV. 

Preparatory Work.—All holes and eracks should be 
as carefully filled as if the walls were not going to be 
covered with a fabric. Ridges, high and rough spots 

, 889 


390 INTERIOR WALL DECORATION 


should be sandpapered down level and smooth, or they 
may show through the fabric. Chapter IV presents 
the working methods essential to these operations. 

Walls covered with calcimine should be washed to 
remove all of this old material. Likewise walls covered 
with wall paper ought to be scraped to remove all paper 
before the fabric is put in place. 

A painted wall having a gloss finish ought to be 
washed with warm water containing a little sal soda to 
eut the gloss and remove any greasy smoke accumu- 
lations. Otherwise the fabric may fail to stick to the 
wall and bag in places. 

When a wall has been coated with gloss oil size, suc- 
tion or sealing varnish before calcimining no wall fabric 
will adhere to the surface very long unless a coat of 
flat drying paint is first put on. When the flat paint 
is dry a coat of sugar size should next be spread before 
the fabric is pasted in place. See Chapter V for in- 
formation about sugar size. 

Fabries are often put on to new walls immediately 
they are dry, but there is no doubt that it is better to 
wait until after the first winter to apply the fabric. 
Every building settles some and the heat of the boiler 
or furnace promotes cracking of plaster in the corners 
to some extent. If, however, the corners were covered 
with wire cloth before plastering there is likely to be 
little or no trouble from the wrinkling or bagging of 
the fabrie. 

Ground Coats and. Size—New and old walls, espe- 
cially when the plaster is quite soft, ought really to be 
given a coat of paint mixed to dry flat and a coat of 
glue size as per Chapter V to assure the stopping of 
suction and a first class, permanent job. It is true, 
however, that some edition put on only the glue size 
and some no preliminary coating at all. 

Paste Mixing.—There are some excellent prepared 
pastes on the market for use in attaching fabrics to the 


HANGING AND PAINTING WALL FABRICS 39) 


walls. They are convenient and in some instances most 
economical to use. 

When the decorator wishes to mix paste for this pur- 
pose the below formula will prove reliable: 

2 quarts warm water (not hot) 
Wheat or rye flour, enough to make a thick paste 
1 tablespoonful of powdered alum 

Add the dry flour to the water and stir; add the alum 
and stir; put on the fire and add enough boiling water, 
a little at a time, to make a stiff paste. Put in no more 
water. Beat up the paste thoroughly to make certain 
that there are no lumps left in it. Stir until the paste 
has thoroughly boiled a few minutes. 

Next, dissolve one pound of high quality glue in two 
quarts of warm water. It is well to let the glue soak 
in the water for a while, over night if possible. Mix 
the dissolved glue into the paste well and strain the 
paste through fly screen or a paint strainer to remove 
any lumps. 

Two tablespoonfuls of Venice turpentine and a little 
brown sugar or molasses are added to the paste by some 
decorators who believe that these ingredients increase 
the adhesiveness of the paste. These are not necessary 
as a rule, unless difficulty has been experienced in mak- 
ing a fabric stick to the wall. 

A eareful decorator will test the adhesiveness of his 
paste on each wall to be covered. A small piece of the 
fabric a square foot or so is pasted on to the wall while 
preliminary work is being done. When it is dry the 
fabric is ripped off to see how firmly it was attached. 

Fabric Materials Used.—The wall fabrics used com- 
monly are those under private brand names and those 
under common trade class names. The latter are these, 
which come in rolls fifty yards long: 

Dyed or Colored Burlaps, 36 inches wide 
Interwoven Fabrics, plain and patterns, 30 inches wide 
No. 2 Filled Burlap, 36 inches wide 


392 INTERIOR WALL DECORATION 


Prepared Burlaps, 36 inches wide 
Sanitary Oil Painted Burlap, 36 inches wide 
No.. 12 Prepared Sheeting, 30 yard rolls, 82 inches wide 
No. 12 Prepared Sheeting, 50 yard rolls, 99 inches wide 
Prepared Canvas, 36 inches wide 

Tools Needed—tIn Plate 78 are illustrated the tools 
commonly used for hanging fabrics. There are some 
variations in styles of such tools, but these are the 
essentials : 


Paperhanger’s Knife 

Seam Roller 

Smoothing Brush 
Straightedge 

Pasteboard and Trestles 
Paperhangers Shears, 14 inch 
Plumb Bob and Line 

Paste or Calcimine Brush 
Stepladder 

Paste Bucket 


Pe ped pe pe pa pe Pe Pe 


Putting Fabrics i Place-—The principal probleim 
in doing this work is to make one strip of fabrie join 
up neatly with the previous strip. It is not considered 
necessary, nor is it possible, to so join one piece with 
the other so that the seam will not be visible, but there 
is a great difference between a neat, well made joint 
and a sloppy, ill-fitting joint. 

One decorator will trim and butt his fabrics to make 
a-neat joint and succeed, while others use a different 
method which laps the fabrics and then trims through 
the lapped edges. Both methods are good and both are 
described as follows. | 

Trimmed and Butted Seams.—To make butted joints 
carefully measure the wall from moulding to baseboard. 
Cut off enough strips of fabric to cover one wall. Cut 
each strip an inch or so too long, to allow for trim- 
ming later when pasted on the wall. 


HANGING AND PAINTING WALL FABRICS 393 


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Plate 78.—The Tools Needed for Hanginy Wall Fabrics. 


394 INTERIOR WALL DECORATION 


Next place each piece of fabric on the paste board, 
lay the straightedge on one side and cut the fabric 
clean and straight with the knife. Now trim the other 
side edge the same way, but not the top and bottom 
ends. Trim each strip of fabric the same way. If your 
knife is very sharp no difficulty will be encountered to 
do this trimming correctly, provided the straightedge is 
held firmly in place. 

Having all strips trimmed pick out one, lay it on the © 
paste board again and take the exact measure of the 
width. Mark this width on the wall at the top, but do- 
not start exactly in the left hand corner—let the fabric 
oo around the corner half an inch or so. Now take a 
plumb bob and line, place the line on the pencil mark 
and when the line hangs still mark the bottom of the 
wall with a pencil. See Plate 79. Take the straight- 
edge now and run a straight pencil line from top of 
the wall on your first mark down to the mark at bottom 
of the wall. A vertical line perfectly plumb is the ob- 
ject to attain. See Plate 80. 

Having the wall marked where the first joint is to 
come, you are ready to paste up the fabric. Lay the 
fabric on the paste board with rough, unfilled side up. 
Brush on the paste with a regular paste or calcimine 
brush. The paste should be a little thicker than is used 
on wall paper. Brush on the paste freely and spread it 
out evenly. When the whole strip is pasted, fold it in 
the middle with pasted sides in together. 

Where walls are smooth and in good condition, it is 
not necessary to paste both the walls and strips of ean- 
vas, especially when the narrower grades of canvas are 
being hung. it is best to paste about three strips of 
canvas and fold them over, then go back to the first 
strip and apply a second coat of paste. This will per- 
mit the canvas to soften and become pliable. When the 
first strip is hung, paste the second strip again and 
hang it. Then treat the third strip in the same way. 


HANGING AND PAINTING WALL FABRICS 395 


3 me) 


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Plate 79.—Showing How a Plumb-Bob and Line Are Used to Mark 
a Vertical Line on the Wall. 


When all three strips are hung, paste three more, past- 
ing each strip twice before hanging. If canvas is hung 
this way, you will have no trouble with blisters or wrin- 
kles. When the very wide grades of canvas are to be 
hung, it is best to paste both the walls and the canvas, 


396 INTERIOR WALL DECORATION 


—$————— 


HA, <5 MOY 9 


Plate 80.—The Straightedge and How It Is Used. 


allowing the canves to become soft before applying it. 
The point of beginning to hang canvas may be either 
in the right hand or left hand corner. It is well to 
begin in the corner next to the window and work pro- 
gressively away from the light. | 


HANGING AND PAINTING WALL FABRICS 397 


Plate 81.—Hanging a Strip of Canvas. 


Carry the pasted fabric to the wall and with a step 
ladder get into position to unfold and drop the folded 
half of the fabric down. Note- Plate 81. 

Hold it with the right hand and peel off the back 
half of the fabric with the left hand. Having the fab- 


398 INTERIOR WALL DECORATION 


ric unfolded begin by pressing the top edge to the wall 
close to the picture moulding so there will be a little 
edge to trim from the top—about one-quarter inch. Be 
careful to locate the left hand edge of the fabric exactly 
on the vertical pencil mark made on the wall in the 
corner. See Plate 81. 

The fabric may be pressed against the wall with your 
hands to get a start and then having it in position use 
a regular paperhanger’s smoothing brush with strokes 
from side to side and up and down, being careful always 
to have the edge of the fabric follow the pencil line on 
the left exactly. Brush out all of the bubbles, bumps 
and wrinkles and you may have to use the brush lke 
a hammer to do this in some places. If any wrinkles 
are formed on the fabric you must pull the cloth loose 
and smooth it down again. 

Ordinarily no paste is put upon the wall itself, but 
when the wall is unusually rough or absorbent a thin 
coat of paste should be brushed on to the wall in addi- 
tion to the paste which is put on to the fabric. 

When you have finished making the first strip smooth, 
it will lap over the picture moulding at the top and the 
baseboard at the bottom about a half inch or so. The 
next step is to paste up the second strip of fabric in 
the same manner as the first one. 

Now measure carefully the width of the second strip 
of fabric at the top and bottom and mark this measure 
on the wall with a pencil and straightedge just as you - 
did the first line, in order that you may have a per- 
fectly straight line to which to paste the right hand 
edge of the fabric. After you have had quite some ex- 
perience you will not have to place more than the first 
line on the wall. 

Place the second strip in position on the wall in ex- 
actly the same manner as the first strip, being careful 
to butt the left hand edge of the second fabric to the 
right hand edge of the first fabric. With your fingers 


HANGING AND PAINTING WALL FABRICS 399 


you can work the cloth into a perfect joint. Now smooth 
the second strip of fabric with the brush as before and 
when it is all in place take a seam roller such as is 
indicated in the Plate 78 and roll down the edges of both 
strips. If the fabric seems to have parted at the joint 
you ean work it together with the fingers and by pound- 
ing it with the smoothing brush. 

Your third piece of fabric should be handled in ex- 
actly the same manner, first marking the line on the 
wall because you will need it. More than likely you 
will have stretched the wet fabric a little and that will 
make an uneven edge on the right side unless you have 
the pencil line to follow as a guide. 

When all strips have been placed on the wall, 
smoothed up in good shape and the joints butted firmly 
into place, take the paperhanger’s knife, shown in Plate 
78, and trim off the excess fabric at the top and bottom 
of the wall so that it will fit neatly close up to the 
mouldings. 

If any wrinkles occur after you have smoothed the 
fabric out once they can be worked out smooth with a 
sponge dampened in water and with the smoothing 
brush. 

Any paste which has been smeared on to the fabric 
or wood trim should now be washed off and loose threads 
from ravels should be cut off. After the paste has be- 
come dry, if any of the seams have opened up they 
should be filled with putty made by mixing a little white 
lead in oil paste with dry whiting and Japan drier. 
When the putty has been inserted and made smooth it 
is a good plan to stipple it with a brush to give it a 
rough texture like the fabric. It is worth while to 
carefully inspect a fabric covered wall after the paste 
has become dry. <Any little patching at this time greatly 
improves the finshed job. 

When the fabric being put on is of the dyed or col- 
ored type, which is not to be painted or stained, greater 


4U0) INTERIOR WALL DECURATION 


care must be taken to make perfectly butted joints and 
to avoid smearing of paint on to the surface. If the 
surface becomes spotted from handling it may be nec- 
essary to brush on a thin coat of stain of the same color 
as the fabric. Any putty which is used to fill up de- 
fects must, of course, be colored with dry colors to 
match the fabric in color. 

Lapped Seams.—The second method used to secure 
perfectly matched joints in fabrics is really better be- 
cause it eliminates all uncertainty as to the result. This 
method is like the one just described, except that it is 
not necessary to place pencil marks on the wall after 
the first one is placed to make sure that the seams are 
perfectly plumb with the corners, also with the excep- 
tion that it is not necessary to trim the right and left 
hand edges of the fabric before placing it on the wall. 

Simply cut the strips of fabric to the proper length 
as described before and paste the first one in position, 
being careful to have the left hand edge follow the pen- 
ceil mark accurately. 

When the first strip has been scotele fastened to the 
wall and smoothed out, paste up the second strip of fab- 
ric and put it in nosition on the wall so that the left 
hand edge will lap over the right hand edge of the pre- 
vious strip. The two fabric strips should lap about one 
inch. Carefully smooth up the second strip and pee 
the edges down as you did the first one. 

Next, take a straightedge, 6 feet. or more long, Hae 
place it on the seam 44 inch from the lapped edges of 
the fabric. Push the straightedge to the top up next 
to the moulding, press it firmly against the fabrie and 
with the sharp paperhanger’s knife cut through both 
thicknesses of fabric, drawing the knife from top to 
bottom along the straightedge. Then, slide the straight- 
edge down to the bottom, keeping 4% inch from the edge 
of the fabric, and continue the cutting to the bottom 
of the wall. 


401 


HANGING AND PAINTING WALL FABRICS 


Cutting Through 


the Lapped Edges to Make a Perfect Joint. 


Plate 82.—Trimming Lapped Edges of Fabric. 


402 INTERIOR WALL DECORATICN 


Now lift the straightedge off and peel back the fab- 
ric so that you can remove the loose end under the 
lapped fabric which is below the seam. When you have 
removed both strips of the fabric edges cut off as per 
Plate 82, paste back both edges using the smoothing 
brush and the seam roller and a perfectly butted joint 
will result. 

When handling some types of wall fabrics you will 
find that a perfect joint has been made while the paste 
is wet but when the fabric has become thoroughly dry 
it has shrunk enough to open up the seam. With these 
materials it 1s necessary to paste on the fabric and lap 
the edges as usual, but do not cut through the edges 
until the paste is dry. Before cutting through the 
lapped edges, which were not pasted down, peel them 
back a little and apply fresh paste, smooth them down 
and proceed with the cutting. By handling the fabric 
in this manner the seams do not open up. 

The Filling of Fabrics—Some of the fabrics sold 
for wall coverings are filled by the manufacturer, but 
on the other hand unfilled sheeting is usually used for 
this purpose. The unfilled fabrics are handled in the 
same manner as has just been described, but when it 
comes to decorating the fabric more paint coats are 
required. 

Fabrics of coarse weaves, like unfilled burlap, re- 
quire a thick mixture for filling and such a mixture may 
be made after the following formula. - The fabric 
should, of course, be pasted on to the wall; the defects 
should be filled and the whole job should-be thoroughly 
dry before any filling ig put on: 

2 Ibs. high class glue 

15 lbs. fine gilders’ bolted dry whiting 

Water enough to make a 5 gal. batch 

A coat of boiled linseed oil should be brushed 
on to the filled surface when the filler is thor- 
oughly dry. 


HANGING AND PAINTING WALL FABRICS 403 


The glue should be soaked in a galion of hot water, 
preferably over night, and the dry whiting should then 
be stirred into the water a little at a time. Beat up 
the paste well to eliminate lumps before adding the 
whole amount of water needed. This filler should be 
brushed on and allowed to dry hard. 

A good filler for unfilled muslin may be mixed this 
way: 


1214 lbs. white lead in oil 

10 Ibs. dry gilders’ bolted whiting 
14 pt. Japan drier. 

11% to 2 gals. boiled linseed oil 


When thoroughly mixed this filler should be thinned 
with turpentine only to a consistency which will allow 
easy spreading to make a smooth job on the fabric. 
The filling should, of course, be done after the fabric 
has been put into place on the wall. Sometimes it is 
desirable to have the weave of the fabric texture show 
naturally, and it is not desirable to fill up and make a 
level surface. In this case the only filler required before 
painting is a coat of glue size mixed a little stronger 
than is commonly done for plaster walls as described 
in Chapter V. Brush the size on when the fabric has 
become thoroughly dry after being pasted down. 

Prepared fabrics require no filling as mentioned above 
since the manufacturer did the filling of the cloth. 

As a rule, thin coats of very finely ground paints are 
preferred for painting fabric covered walls because such 
paint colors the surface uniformly but does not fill up 
the texture and weave of the cloth, which ought to be 
preserved. 

Having fabrics securely fastened to the walls and 
filled, either by manufacturer or decorator, the finish- 
ing process is the same as for painting, staining or enam- 
eling any other wall. Two coats of paint mixed to dry 


404 INTERIOR WALL DECORATION 


flat with a coat of size in between the paint coats are 
usually sufficient to make a good job. 

Repars on Fabric Surfaces——Oceasionally canvas or 
other fabrie will let go its hold on ceilings and bag in 
patches a foot or two in diameter. This may result 
from wet plaster or other causes. Such a defect can be 
remedied by cutting through the canvas as indicated 
by Plate 83. 


1 
t 
1] 
i 
4 
U 
I 
' 
a 


_ Plate 83.—Showing How to Cut Through Old Fabric on a Ceiling 
or a Wall to Paste Back Loose Areas. 


When this cutting is neatly done the canvas may be 
pasted back and when dry an extra coat of paint or two 
over the cuts will usually conceal them after the whole 
ceiling has been repainted. When the area of loose 
fabric is large it is advisable to make your cuts only 
long enough to permit you to work fresh paste well 
under the loose fabric on all sides. In other words, it 
is not necessary to.make your cuts long enough to peel 
back all of the loose fabrie. 


CHAPTER XIX 
DECORATIVE WALL PANELS 


Of the two types of wall panels in use today only one 
holds much of interest for the decorator. Those panel 
effects constructed of solid and veneer wood are essen- 
tially within the province of the lumber mill for the 
building. They are erected by carpenters, of course, 
and the decorator is concerned only with their finish- 
ing with stain, varnish, enamel or paint. 

The other type of panels, however, constitute strictly 
decorators’ work. This type is constructed by nailing 
mouldings on to plain plaster and wall board walls. 
That calls for a considerable measure of skill in layout 
and design in order to locate the panels artistically, to 
secure good proportion and interesting sizes and shapes. 

Panels are also formed on walls in other ways. The 
mouldings are sometimes cast in plaster integral with 
the walis; they are cut in stone blocks as part of stone 
walls, they are cast in cement and they are sometimes 
painted flat on the plaster walls, either in plain lines 
or stencil designs. 

The purposes served by wall panels are, principally, 
these: They produce valuable decorative effects; they 
supply variety for interiors which are severely plain 
and monotonous; they give opportunity for more color- 
ful treatment within panels; they offer the means for 
correcting defective proportions of rooms with ceilings 

405 


406 INTERIOR WALL DECORATION 


too high or too low; they unite architectural features 
of a room and the wood trim with the wall decorative 
treatment. 

The use of wall panels is by no means a modern treat- 
ment. Ags with a great many modern customs the use 
of wall panels is traced back to early civilization in 
Egypt. The decorators of Egypt divided the walls of 
the buildings of their time into panels and filled these 
panels with their queer picture words in vivid painted 
colors. Wall panels were their books in which historical 
and religious writings were recorded. 

Later civilizations in Greece and Rome utilized walls 
more for decorative effects. They were likewise divided 
into panels and it is probable that their custom marked 
the beginning of our habit of dividing walls into friezes, 
filling and dado with mouldings. The panels of these 
early decorators were filled with scenic paintings in 
bright colors or with uncolored human and animal fig- 
ures painted or modeled in relief. 

Tracing panels further we find ten centuries later, 
during the Italian Renaissance, that the painted panel 
walls were revived. Pictorial, scenic and conventional 
classic ornamentation all were revived in frieze, filling 
and dado as well as in vertical and horizontal shapes. 

When the spirit of the Renaissance reached England 
a bit later the severely plain walls of baronial halls were 
paneled ceiling high in solid oak panels shaped in 
squares, rectangles, diamonds and ovals. When time 
progressed into the Jacobean period of decoration the 
panels continued, but were also made of other woods 
and painted colorfully in grays, blues and greens. 

Between the Italian and English renaissanees France 
was influenced both ways in modes of decoration, but 
the paneled wall persisted. The Louis XIV and XV 
periods made lavish use of panels the centers of which 
were filled with colorful pictorials and rich tapestries, 


DECORATIVE WALL PANELS 407 


many of which were the works of master artists. Oval, 
rectangular and square panel shapes were used. 

The panel mouldings of these French periods were 
ornate, indeed. Instead of the plain and simple, mod- 
erately carved mouldings of this day the decorators of 
the Louis XV period used mouldings made up of pro- 
fuse turnings and carvings finished in gold and highly 
colored in keeping with the elaborate oil paintings of 
the panels. 

In England a little later we note a change from solid 
wood panels to plaster walls and then the Adam broth- 
ers, architects, interior decorators and furniture de- 
signers made popular the construction of wall panels 
with narrow mouldings on plaster, just such panels as 
we employ today. 

All during these historic periods paneled walls were 
for the favored few, the rich privileged classes. And 
even until the last few years the dignity and beauty of 
paneled walls have been associated with expensive, pre- 
tentious homes and public buildings. Now they are 
easily within reach and are being extensively used to 
beautify average homes at moderate cost. 

Paneled walls are essentially formal. They are most 
suitable for large rooms and those of moderate size 
like the modern lying room. Although with more eare- 
ful handling small bed rooms are paneled with a grace 
and charm impossible of attainment by other decorative 
treatments. 

Plain and simple mouldings as well as colorings find 
most favor today in wall panels. The extravagant, lux- 
urious treatments of the French early periods are not 
at all acceptable, unless for an occasional novelty room 
or for special effects. We have come to regard all wall 
decorative treatments as merely background for set- 
tings of furniture and accessories. Therefore, panels 
are strictly limited in pattern, texture and colorings 


408 INTERIOR WALL DECORATION 


to what constitutes an artistic background. Restrained, 
subdued treatments only are in order. 


WORKING METHODS 


No great skill at doing carpenter work is required for 
cutting, fitting and attaching wood mouldings to plaster 
walls. The habit of careful, painstaking workmanship 
which is characteristic of good decorators who carry 
numerous other processes to a successful conclusion, 
- will suffice to assure success here, when the correct tools, 
materials and methods are employed. 

Decorative Mouldings.—Ordinary picture mouldings 
are not usually suitable for constructing wall panels 
because they have one edge rabbited out to receive the 
glass. 

Practically all decorators’ supply houses now carry 
panel mouldings made especially for this purpose—and 
also local lumber mills carry suitable moulding stocks. 

Some of these mouldings are sold having the finish on 
them—such finishes as gilded, natural pine, stained oak, 
walnut and mahogany, white and old ivory enamel and 
polychrome finishes in various color schemes. Most of 
the panel mouldings used, however, are made of selected 
bass wood and are not finished when purchased by the 
decorator. 

In Plate 84 are shown the shapes and sizes of panel 
mouldings commonly used. Mouldings are sold at a 
few cents per foot and come in strips of varying lengths. 

Panel mouldings are usually cut and joined with 
square corners, but for certain decorative effects cor- 
ners with irregular shapes can be purchased already 
cut and joined in corner sections. Such corners are 
shown in Plate 85. 

Decorators commonly remodel rooms to a greater ex- 
tent than by constructing paneled walls. Cornices are 
added where the wall joins the ceiling in some rooms, 


DECORATIVE WALL PANELS 409 


G=Leo 


D 
o 

o% 

Yoo 


Plate 84.—The Various Styles of Mouldings Used for Constructing 
Wall Panels. 


410 INTERIOR WALL DECORATION 


while in others combination cove and picture moulding, 
or plate rails, or chair rails are put in place. The 
mouldings for this purpose are pictured in Plate 86. 
Tools Needed.—In addition to the usual decorators’ 
brushes and tools required for hanging canvas as listed 
in Chapter XVIII, the tools needed for panel moulding 
work are those pictured in Plate 87, a wood or metal 


Plate 85.—Decorative Corners for Panel Mouldings. 


miter box, a good hammer, block plane, carpenters’ 
chisel and a nail set. 

Where Panels Are Used—Any room of suitable size 
may be paneled effectively, but those most commonly 
decorated in this manner are dining rooms, living rooms, 
halls, bed rooms and libraries. Large public buildings 
as a rule have many rooms which ean only be effectively 
decorated after panel treatment. 


DECORATIVE WALL PANELS 411 


Panels are constructed on smooth plaster walls which 
when old ought first to be repaired and patched to 
smooth up rough places, fill eracks and holes and sand- 
paper down any ridges. 

Very often rooms to be paneled are much more effec- 
tively decorated if the electric light fixtures are first 
moved to new locations between panels as was done in 


Plate 86.—(a) Colonial Cornice and Picture Moulding. (b) Com- 
bination Cove and Picture Moulding. (c) Plate Rail. 
(d) Picture Moulding. (e) Chair Rail. 


A12 INTERIOR WALL DECORATION 


the room pictured in Plate 88 or eliminated entirely, 
being replaced by wall sockets for attaching lamp cords. 
And these electric sockets should be located in the wood 
baseboard, not in the plaster near the baseboard. It is 


Carpenter Hammer Chisel 


Plate 87.—The Tools Used for Cutting and Fitting Panel 
Mouldings. 


DECORATIVE WALL PANELS 413 


well for the decorator to suggest this before the elec- 
trician puts them in the plaster wall. All electrical 
work should be done before any of the panels are con- 
structed, because there is usually more or less patching 
and filling of plaster damaged by this change of fixtures. 


Plate 87A.—A Spray Gun Being Used to Decorate Paneled Walls. 


Having the walls repaired and in good, smooth con- 
dition, you are ready to proceed with the panels. 

Laying Out Panels.—At this point in the work what 
is most important to the success of the job occurs. It 
may appear simple to decide where to put the panels, 


414 INTERIOR WALL DECORATION 


yet it is not easy. Here is work for one of an artistic 
turn of mind. This is a problem in composition and 
design, a study of balance and proportion just as surely 
as the painting of a picture in oil on canvas. . 

Where shall the panels start? How large shall they 
be? What shape—square, rectangular, oval or diamond 
shape? Ought the windows and doors to be included 
or excluded? Shall we leave the ceiling a plain un- 
‘broken surface, or add at least one moulding around 
-the outer edge? When there are built-in seats, buffets, 
sideboards and bookcases how shall we start the panel 
mouldings? In the hall ought the moulding to follow 
the stair stringers up? 

Every room presents its own problem becanae the 
architectural arrangement of doors, windows and wood 
trim differs with each room. Aside from a study of 
composition just as the artist studies it to learn what 
constitutes good proportion and balance, there appears 
to be no way to learn how to layout wall panels in an 
interesting way, except a study of many rooms with 
paneled treatment, considerable practice and experience. 
To give you a start toward this study you will find ex- 
amples of good panel layouts in Plates 88 to 100. 

‘When you have a room to panel take a chair and 
seat yourself in the door entering the room to study 
the architectural effect. When you have this impres- 
sion clearly, do the same thing from the center and 
opposite end of the room. Soon your ideas will shape 
and the point of beginning will come to you. ‘There 
will always be a choice to make of two or three panel 
layout plans, and there is ample room to exercise good 
judgment. 

Some of the facts to keep in mind while making your 
decision are these: 

A large plain wall can be made to appear smaller 
by breaking it up with panels,—and to appear more 
interesting as well. 


Yen) 
ra 


DECORATIVE WALL PANELS 


Plate 88 


—Paneled 


Walls of a Bedroom Showing Light 


Fixt 


ures Relocated Between P 


anels., 


‘wooupeg & Ul SHhulpinow jeued JO yNoAe BAIZORUIW UY—'6g 231d 


DECORATIVE WALL PANELS 


417 


“ 


DECORATIVE WALL PANELS 419 


A number of small panels tend to make a room 
appear larger; a few large panels tend to decrease the 
apparent size of a room. 

Rooms with very high ceilings will usually look bet- 
ter if panels of rectaneular shape and when the long 
side of the panels parallel the floor. A picture mould- 
ing placed about eighteen or twenty-four inches down 
from the ceiling to form a frieze will lower the appear- 
ance of the ceiling. The panels may then be run up 
to near the picture moulding as a stopping point, rather 
than up near the juncture of ceiling and wall. 

Rooms with very low ceilings can be made to appear 
better by the use of narrow, verticle panels which run 
up to near the ceiling. 

From among the many problems encountered in lay- 
out work for paneling mention of two or three will 
suffice to indicate the method of working out the prob- 
lems. 

Plate 89 pictures a bedroom in an average home. 
It was decorated in wall paper with golden oak wood 
trim until recently. The paper was stripped off, mould- 
ings put in place, canvas was put on between panels 
and a rough texture, glazed wall finish was done within 
the panels. 

On the wall pictured two problems were encountered. 
First, how was the panel near the door to be handled? 
Second, how could the built-in seat in the lower right 
hand corner be treated with reference to the panel? 
Note that the decorator eliminated the second problem 
first by starting one panel on the corner of the seat. 
Next he measured the length of wall between that first 
moulding and the door on the left. Dividing that space 
into four panels of the same size, he placed the door 
in the center of the fourth panel. That settled the 
door problem, but left a small wall area about eighteen 
inches wide between the door and corner. This he filled 
with a narrow panel only about six inches wide, but 


420 INTERIOR WALL DECORATION 


as high as the four large ones. A nicely balanced wall 
panel treatment is the result. 

On the opposite wall in this bedroom the problem 
was a window. <A large panel was worked out, about 
the same size as those on the wall in the picture, so 
that the window was centered in it without breaking 
through the top panel moulding. 

Sometimes it is necessary to allow some architectural 
feature of wood trim, column or pilaster to break 
through the top panel moulding, but this should be 
avoided if possible by your layout; that is, lay out the 
panels, if possible, so that one panel begins on each 
side of the pilaster and so the pilaster runs between 
panels not through a panel. Allowing some architec- 
tural feature to break through a bottom panel mould- 
ing interferes less with the continuity of the panel. 
Plate 100 shows the correct and incorrect layout method 
where doors, windows, pilasters and built-in furniture 
are part of the problem. ; 

In this connection note Plate 90. A picture of a 
dining room in an apartment building. Within the 
panels a beautiful wallpaper pattern in gray and blue 
was placed. Between panels the wall was covered with 
canvas and enameled the same as the wood trim. Note 
that the moulding above dividing the upper wall to 
form a frieze was placed exactly on the level of the 
top door casing, not above or below this line. 

Mark also the manner of laying out the panels around 
the built-in buffet;—the long panel above unlike any 
other in the room yet in harmony, the panels on each 
side and in the corner back of the door all are of dif- 
ferent widths, but the same height and in harmony. 

Marking Guide Lines—When you have a clear idea 
of how you are going to lay out the wall panels the 
next operation is to mark out with a pencil on the walls 
the position of each panel and moulding. 

Measure the first wall from corner to corner. Then 


421 


DECORATIVE WALL PANELS 


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a 


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$; 
: 
4 


Plate 90 


.—Dining Room Walls Paneled Off with Mouldings. 
Panel Centers Filled In with Wallpaper. 


The 


7 


423 


DECORATIVE WALL PANELS 


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ye Me 


Pate 91.—A Sujgested Layout for Wall Panels. 


INTERIOR WALL DECORATION 


424 


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pe ae es Oe Oe ee 


DECORATIVH WALL PANELS 425 


if three panels of equal width are to be placed on the 
wall divide the length from corner to corner in inches 
by three. That will give you the measure in inches for 
marking the centers of the margin or stile between 
panels. 

Now you must decide how wide a margin or stile 
you are going to allow between panels—eight, ten or 
twelve inches; possibly more or less. If you decide 


Plate 93.—A Noveity Layout of Wall Panels ina Black and White 
Room. 


on eight-inch margins, measure eight inches each way 
from the first marks made to divide the whole wall 
into three equal parts and you have marked the posi- 
tion of the moulding outside edge. Measure eight inches 
out from each corner to get the position of the moulding 
on each end. 

Having all the vertical mouldings marked in mae 
as to location, take a plumb hne and bob; hang it from 


426 


INTERIOR WALL DECORATION 


Panel 


Chair Rail and Having Pictorial Wallpaper Above the Panels, 


Layout Below a 


Plate 94.—A Simple but Effective Wall 


tm 
ios | 


DECORATIVE WALL PANELS 


Plate 95 


.—A Living Room Paneled in Conventi 


onal Style. 


a 


Go 
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2 D> 
Fp 273) 


2 Dp 
& 72 
Cree 


» 


428 


INTERIOR WALL DECORATION 


ii 
lit 


7 


Plate 96.—Another Arrangement of Panels on Living Room Walls. 


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DECORATIVE WALL PANELS 


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429 


430 


INTERIOR WALL DECORATION 


Plate 98.—A Layout for the Handling. of Wall Panels in a 
Second-Story Bedroom 


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DECORATIVE WALL PANELS 


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431 


432 INTERIOR WALL DECORATION 


Correct Incorrect 


Plate 100.—Indicating Some Correct nak Incorrect Layouts for 
Panel Mouldings 


DECORATIVE WALL PANELS 433 


a nail so the line will exactly cover each mark and one 
at a time make a mark at the top of the wall to corre- 
spond with the bottom mark. See Plate 79, Chapter 
XVIII, for the use of this tool. 

With two sets of marks—top and Ene nee the 
wall take a straightedge and run straight lines from 
top marks to bottom marks. See Plate 80, Chapter 
XVIII, for the use of the straightedge. 

To locate the top moulding measure down from the 
ceiling or bottom of the cornice, cove or picture mould 
eight inches. Mark both ends this way and have sev- 
eral marks in between so you can run straight lines 
with the straight edge on top of such marks. 

To locate the bottom margin make your marks in the 
same way eight inches above the baseboard and run a 
straight line with your straightedge as before. 

Attaching the Mouldings——With the panels accu- 
rately marked off in pencil the cutting of mouldings 
comes next. 

The three things necessary to the Sate of perfect 
corners are a sharp saw, an accurate miter box and 
great care in the use of these tools to assure clean, 
sharp and accurate miters. 

Have a sharp pencil with an ordinary size lead—not 
the thick lead. Take a piece of moulding, lay it flat in 
the miter box. Hold it firmly in the corner and saw 
it off after placing the miter to make a 45-degree cut 
near the end of the moulding. Note Plate 101. 

After the first cut place the moulding itself on the 
wall and accurately mark the length from top line to 
bottom line. Make your cut on the other end, being 
certain to cut so that the outside of the moulding is 
the long side. If the first moulding is right in length, 
cut five more exactly like it. 

It is well now to put a four penny finishing nail in 
each end of each moulding and tack them all in place 
firmly enough to remain there. 


434 INTERIOR WALL DECORATION 


Now cut one end of another moulding clean and make 
your measure on it for the top position. Better allow 
it to cut a trifle too long than too short—a second cut 
can be taken to just shave off a little wood if the first 
eut doesn’t fit. 

When you have made a perfect top moulding cut 
five more just like it in length. Tack all in place and 


Iie 


Plate 101.—The Miter Box Being Used to Miter the Corner of a 
Moulding. 


as rapidly as each corner can be made to join up per- 
feectly drive the nails home, taking care not to hit and 
bruise the moulding with the hammer. 

After all mouldings are securely fastened by a four- 
penny nail every foot or so, go over the mouldings 
again and drive all nail heads a little below the surface 
with a hammer and nail set. . 

If the miter and saw have been correctly and care- 


DECORATIVE WALL PANELS 435 


fully handled the joints will fit perfectly. Slight burrs 
or imperfections may be trimmed off with a sharp wood 
chisel, sandpaper or a file. 

Having all mouldings nailed securely in place, pro- 
ceed to repair any holes, cracks and bruises in the 
plaster as per Chapter IV. Then spread on a coat of 
paint, taking care to work the paint well into nail holes, 
corner joints and all openings. 

When the paint is dry putty up all holes and cracks 
and let the putty dry. 

The margins between and around panels are now 
usually covered with canvas as per Chapter XVIII. 

After the canvas the moulding and canvas are painted 
or enameled. In some cases the moulding is stained 
and varnished or enameled before being attached to 
the wall because it may be handled much more quickly 
without the necessity for cutting sharp edges as when 
staining after erection. 

Sometimes the mouldings are painted one or two coats 
with the canvas and then are given a coat of gold, silver, 
copper or other bronze. 

Glazing and Highlighting —Whether the moulding is 
painted, enameled or gilded with bronze, the finishing 
touch given usually is a thin coat of glazing color as 
described in Chapter X. This transparent color is 
brushed on and stippled with a brush, wad of cloth, 
wad of newspaper or a sponge; then while the glaze is 
still wet a small wad of clean cloth is rubbed over the 
moulding to wipe out high lights or give an antique 
effect. The glaze color is thus removed from the high 
surfaces and allowed to remain in the low or depressed 
eracks and crevices. 

The Antique Finish—When the glaze coat has been 
wiped and is dry, a further antique finish is sometimes 
added by brushing on a coat of rottenstone mixed thin 
with turpentine. This coat, too, is wiped off all except 
the depressions and crevices. 


436 INTERIOR WALL DECORATION 


Polychrome Finish._—The glazing with bright colors 
and antique finish over bronze ground coats is very 
effective. This is, of course, what is popularly called 
polychrome finish. The bronze grounds are made from 
bronze powders mixed with bronzing liquid as per Chap- 
ter XIV. The glazing colors to go over the bronze 
geround are deseribed in Chapter X and used in the 
same manner as there described for glazing, mottling 
and blending. 

Panel Centers.—Often the centers of the panels are 
given identically the same treatment as the margins 
between panels and the mouldings. When this is true 
the entire wall is covered with canvas as a rule before 
the mouldings are put in place. Then the painting or 
enameling proceeds as for any unpaneled wall. 

A popular decorative treatment for panel centers is 
the use of one of the colorful glazed, mottled, blended, 
sponge stippled or spatter finishes described in Chapters 
X; XI, XT, XU AV 1 and: 2a 

Another effective treatment for panel centers is the 
use of one of the artistic rough textures the methods 
for which were given in Chapters XV. Note Plates 
88 and 89. 

Wallpaper is often used with striking affechs in panel 
centers when just the right color note and suitable pat- 
tern are selected. Note Plate 90. 

Fabrice or paper tapestry patterns are, indeed, suit- 
able for panel centers. 

Color Schemes.—The handling of wall panel color 
schemes is an integral part of the color treatment of 
the room as a whole. And while panel centers can 
easily carry both stronger, brighter colors and patterns 
and textures of more contrast, these must be used 
with great discretion and as part of the whole color 
scheme. A restrained and subdued treatment as to 
color, pattern and texture is most likely to prove per- 
manently satisfactory. 


DECORATIVE WALL PANELS 437 


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Plate 102.—Classic Stencil Design Which May Be Used to Form 
Wall Panels. 


INTERIOR WALL DECORATION 


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Classic and Conventionalized Flower Designs Suitable 
for Wall Panels. : 


‘Plate 103. 


DECORATIVE WALL PANELS 439 


Painted-On Panels —Without the use of mouldings 
panels are sometimes laid out and painted on the sur- 
face in one or more colors. 

In all respects the layouts for this type of panels re- 
semble those done with mouldings. The essential differ- 
ence is that the ability to do lining and striping with 
a brush is required. See Chapter XX for instruction 
about lining. 

Stencil Border Panels—In place of raised wood 
mouldings or flat painted lines certain appropriate sten- 
cil border and band designs are used to form panels. — 

The layout of panels and the preparatory ground 
work are the same as for stencil panels as for others. 
The designs are transferred from regular paper stencils 
and in all respects this is a stencil job.* 

In Plates 102, 103 and 104 are shown suitable designs 
and panel effects. 

Dado, Filling and Frieze-—Walls generally have been 
divided for convenience in designating different areas 
as. follows: . 

The Dado, meaning the lower section between the 
chair rail and baseboard or plate rail and baseboard. 

The Filling, meaning the section between the plate 
rail and the picture mould or the Frieze (sometimes 
called the upper third or upper side wall). 

The Frieze, meaning the section between the picture 
mould and the eeiling. When this latter section is 
tinted the same as the ceiling it is not called the frieze 
but rather a drop ceiling. 

The Dado rail or plate rail undoubtedly comes from 
the English Victorian or pre-Victorian period while 
the picture mould is of much later date. The picture 
mould has a sound, practical reason for existence. 

When the use of a frieze appears desirable and its 


* Stenciling is too extensive a subject to be covered here. 
It is presented in considerable detail fully illustrated in 
the author’s book, ‘‘New Stencils and Their Use.’’ 


440 INTERIOR WALL DECORATION 


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Plate 104.—Stencil Designs Suggested for Use in Forming Wall 
Panels. ae 


DECORATIVE WALL PANELS 441 


depth is not already fixed by a picture mould it is well 
to start from some fixed point already present in the 
building—the tops of the door casings are among the 
first to use in this manner. A frieze coming as low as 
that will be deeper than usual and, of course, is desir- 
able only with a comparatively high ceiling. With such 
a deep frieze a dado would be out of place; it is only 


SS =— 


FILLING 


PICTURE MOULD 


FILLING 


Plate 105.—Common Names Used to Designate Various Wall Areas 
for the Purpose of Decoration. 


in a room with an unusually heigh ceiling that both a 
frieze and dado can be used with good effect. Such 
a deep frieze should be lightly handled as to color and 
design. If the color is too strong and the design heavy 
it will apparently lower the heighth of the ceiling. Use 
an extremely light stencil pattern lightly colored and 
leave a large part of the frieze plain. Note Plate 105. 


CHAPTER XX 
LINING AND STRIPING 


To learn how to paint a straight line on walls or 
other surfaces is not at all difficult, but it requires quite 
a little practice, the correct tools and especially the 
correct hold on the brush. 

Tools Needed.—The brushes used are called fresco 
angle lining brushes. They come in various sizes, but 
for practice the 14-inch and 44-inch sizes are suitable. 
These are illustrated on Plate 106. 

The other tools needed are a light-weight straight- 
edge about three feet long and a plumb line and bob. 
Plate 79, Chapter XVIII. 

Materials Used.—Ordinary paint or tinting colors 
eround in linseed oil are suitable for this lining. Thin 
the colors with turpentine mostly, but add enough Iin- 
seed oil to cause the color to flow freely from the brush. 
If the lines are to dry flat and you have difficulty with 
colors thinned entirely with turpentine, use flatting oil 
with the color in place of linseed oil which will make 
a gloss finish, if used in considerable quantity. 

The Method to Follow—Hold the brush at the ex- 
treme end between the thumb and first two fingers. This 
is the only way to draw straight lines. Note this posi- 
tion in Plate 106. 

Mark guide lines on the wall as instructed in Chapter 
XIX, using the plumb line and straightedge. 

To run a straight line place your short straightedge 

443 


A444 INTERIOR WALL DECORATION 


Lipp 


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Mailer Y 


Plate 106.—(a) The Correct Way to Hold an Angle Lining Brush. 
(b) The Angle Liner and Straightedge in Position to Run a 
Line. (c) Fresco Angle Liners. (d) A Gilding Wheel. (e) 
A Striping and Stencil Wheel. (f) The Character of Stripes, 
Stencil and the Wheels Which Are Used to Make Them with 
a Striping Wheel. 


LINING AND STRIPING 445 


on the guide lines and after working your brush well 
into the color take the correct hold on the handle and 
draw your line from top to bottom. Allow the metal 
ferrule of the brush to slide down in contact with the 
side of the straightedge as shown on Plate 106. 

Striping and Stencil Wheels.—There is on the market 
a tool which is used for making single straight lines . 
from about one-sixteenth of an inch wide to about one- 
quarter of an inch wide. Such a tool is pictured on 
Plate 106. 

The tool comes equipped with nine plain and one 
ornamental wheel. <A set of twelve extra ornamental 
wheels can be bought also. The plain and ornamental 
wheels can be used singly or in different combinations 
of plain and decorative wheels. 

The material used in these striping wheels is one- 
half Japan color and one-half oil color thinned with 
turpentine to flow freely. 

The striping wheel can be used with a straightedge 
to make clean and sharp lines on any surface which 
can be painted. It can also be used to apply gold size 
in stripes. Then gold leaf or silver leaf can be applied 
by hand to make gold or silver stripes. 

Another tool similar to the striping wheel just de- 
scribed is called the Coe’s adjustable gilding wheel. 
This tool lays a ribbon of gold leaf with accuracy. The 
ribbon may be any width from 1/16 to 114 inches. 

The gold leaf comes on spools, containing sixty-nine 
feet of 2214 karat quality. Nine different widths are 
available. 


INDEX 


Aluminum paint 
Antique Italian finish.... 


Balancing a color scheme. 30 
Bank, school and church 


color :schemes........ 40 
Men TOOM COLOTS.. 7 ies sees 39 
Binders for calcimine..... 118 
Blends, graduated........ 173 
SPACES ete ae a 6 cle sale. 6 63 


Bronze finishes, metallic. .233 
Bronze paints, mixing....235 


PHIWOCE SN 7 oe cade 5.5 00 2 © Zoo 
Bronzes, using dry....... 238 
Bronzing liquids......... 234 
Brushed rough wall tex- 

oh? bo ake re 310 

PAIS et els a re7e aiuto 86 ois 298 
Brushes, types of wall... 94 
Brushing calcimine....... 124 

CGE Se Sa aa 96 


Caen stone, French....... 


Calcimine, binders for....118 
[ep UR oe Oe, eh ae a 125 
PUPS ane ac anes 0 sao abe 124 
Geto Vacs A orem 118 
for large surfaces...... 123 
methods and materials. .117 
SR aR TORS UE are 121 
SO ACG Nr aia Cd a 66 
WTIOW OWALS: . ace cece ckol 
on oldewalls..... Ste 129 
RSRE Cs a 118 
SLL PET ec tela ecs-s #0 4 e015 130 
SLODMINC COME! few w ess ers 130 

Pein COIOFINGS ...9. 5s 48 

Church, school and bank 

color schemes........ 40 


PAGE 
Cleaning radiators ....... 133 
Cleaning up before deco- 
PALIN Ses aereu hoses +e 55 
Climaxes and centers of 
ITULCT OS aegis sae. weitere tas 28 
Color cards, experiment 
WW AU Ll abeeeneete ere eee oe ‘ws (DS 
Color combinations, list of.217 
Colored enamels.......... 115 
Colors and textures, ap- 
propriateness of...... 29 
Colors, decorators’ glaze. .146 
LOntii xe SIAZINS yest he 152 
TOPeCAlCINTING cscs. sia oe 118 
TOPSWOOULLEIIN foe eens = 46 
Color schemes..... Senki nsto6 
ay WIEN A CENA Vea th UA ate ine ampere 30 
ToOrmtho nallonw tw see. 6 ee 40 
suggestions, glaze...... 185 
WOlOTSasStencile. - tes vise lens 342 
SUrAININ eS sate otre eee ee 92 
Color treatment... se 202 
Combed texture finishes. . .309 
COMDOSUIPE st. eet or eite 259 
Concrete cwallst4% ern. 63 
Correlating walls, floors, 
rim and-celling...... 26 


447 


Correct brushing methods. 
Covering small surface 

Cracks "ics Seas Nee oe 
Crack and hole filling.... 
Cracks and holes, cleaning 


and cuttin’ out... 68 
Cracks, covering small sur- 

fTACOL TAS ree ie 78 
Craftex, plastic paint... .: 253 
Dado, filling and frieze. ..439 
Decorative mouldings... .408 
Decorating, procedure in.. 55 


448 INDEX 


PAGE 

Decorative wall finishes in 
DISCOP View ore eie erties 244 
wallspanels*42% scene 405 


Decorators’ glaze colors...146 
Decorite plastic paint....256 


Dining room thes...) =: 36 
Discolorations wad ee 80 
Drapes and window shades 51 
Drop cloths. 32)... 2e.ee 55 
Early Colonial plaster. ..282 


Enamel on flat wall paint.115 
on old plaster or canvas.114 


on plaster and canvas...112 
HinNSINnelin ge a. he eee eee 85 
Enamels, colored......... 115 
TOTS WELLS Wait. te ite arene 88 
Fabric materials used....391 
Fabric surfaces, repairs 
OTE Ss ea ee ee 404 
Fabrics, putting in place. .392 
the filling ols 2 enone 402 


Filling wall board joints.. 79 
Filling of fabrics, the.... 
Finger rough textures.... 
Finish, Italian plaster... .294 


Roman: tile sles secre 298 
Finishes, spray gun deco- 
Tative. Ur cut cee ee 345 
Finish, Spanish palm....282 
Wickham) pales. 0 289 
Finishes, combed texture. .309 
Fiat: lead 2paint Sase8 2276 87 
Flat “wallepaint.. 85, 263 
Plattine -o1l Segue: . eee 88 
USG6yOl. nus oe eee 112 


Floor colors and designs... 49 
Formulas for white paint, 


Standard, io. +neee ale eee 109 
French Caen stone....... ate 
Gesso, -ltalian ys ee 265 
Glaze color runs, when the.169 

scheme suggestions..... 185 
decorators: Stee eae 146 
Glazed effects, silk....... 190 


Glaze sets before blending.169 


PAGE 

Glazing and highlighting 
mouldingscy7.2 sie 435 
colors,; to°M1x.4. 2s aeee 152 
in gray tones. <2... 183 
liquids scien ec eee eens nisy i 
multicolor. 232 170 
where USC0 02... oe eee 145 
simple two-color....... 152 
to match aged effects. ..188 
very rough walls....... 174 
Gloss and flat patches....107 
Glue: :SiZ@5...4 cake sae 81 
Graduated blends........ 173 
Ground. coats......:....5. 150 
Hall color schemes....... 40 

Hanging and painting wall 
fabrics: see eee 389 
High lights, wiping out...142 


Historic and new rough 


wall textures. ... 5.20: 241 
Hole. filings. oes. io 
Holes, cleaning and cut- 

ting OUtc2 450. eee 68 
Holland plaster wall finish.268 
Italian finish, antique....189 
Italian #@S8$0...cssceno cee 265 
plaster: fimishs.:.i.9.eeen 294 
Kitchen colors....02070e. 36 
Knifing: putty esos 12 
Lace stencil designs...... 332 

MAKIN $e aeee eae 333 

wall. finishes, 252726 9.0% 331 
Ladders and planks...... 56 
Lappéd ‘Beams ives 400 
Lead and zine paint, mix- 

ing. -..)\ fasales eee 90 
Lead * pain tie. 7 eee 87 
Library and private offices 38 
Lining and striping...... 443 
Liquids, glazing... sos. 151 
Market for simple colorful 

textures: 3.22905) eee 22 

for novelty and bizarre 

effects §...)5 4h ee 22 


INDEX 449 


PAGE 
Materials, prepared...... 85 
Metallic bronze finishes. .233 
PURO UICC sietn c's 6's w%sre 6 8 © 88 
Mixing bronze paints..... 235 

PAL eDAINUS. a vices ss 89 
lead and zinc paint..... 90 
white lead paint........ 89 
Morene, plastic paint..... 262 


Mortar joints, marking off.274 
Mottled novelty finish, a. .189 
Mouldings, antique finish.435 


SEU CRC I PERE (ew a wos W vis wes 433 
decorative .....-. eo ee 408 
glazing and =§highlight- 
Lge? et elle geet eee eae 435 
Multicolor glazing....... 170 


North exposure color 
schemes 
Novelty finish, a mottled. .189 


Oilvand 2ilue size......... 83 
OL ERRLGCCIN Es CVG 2s as G0 6-0 88 
for dead flat finish, draw- 
RITE ELAE Ge cee fos er siecs oe 94 
Old English plaster....... 281 
Outline, stencil or pounce.151 
POL HAL ACAG, Seccccce ee OF 
SPbst oe a ai taidhape ec sc 0js 0 68 
stipple, ground coats for.211 
SUL IVAILT IRE aks dere ote 7c nlere Ss 103 
Painter-mixed materials. .263 
Painted-on panels ........ 439 
Painting wall fabrics..... 389 
Paints and colors, strain- — 
tO ee aa Boek . 92 
Panel Centers is. se ees 436 


Panel mouldings, tools for.412 
Panels, decorative wall...405 


DAVIN POUL & s00% « Bee e ev 413 
PVA VEL DECIHOT Yas o.c cite os) 439 
stencil border...ecece.-409 
RV IRGTR SOO dere a ace «acn"s 410 
Sess ese vc cis core ls 52 
eT PELUVanins ook ewes 264 


PAsle* MIS INS. » sv cccteae OVW 
Patches, gloss and flat...10/ 
Pictures, frames, mats.... 49 


PAGE 
Pigment, proportions of.. 92 

calcimine 
Plain painting and enain- 


Olin eee ek ce ae 85 
Plaster, early colonial... .282 
new rough-finish....... 61 
new smooth-finish...... 59 
Oidwionslisit tae ~ aeocin 281 
olderousgh-nnish. sac. e- 62 
old smooth-finish....... 60 
OLMDATIS sDULLY. 2 sas es 74 
Stainine Troughs .3si.s: 141 
Polychrome finish for 
THOULGINGS Sugeest cee 436 
Preparation of surfaces... 59 
Prepared materials....... 85 


for rough wall textures. 249 
Procedure in decorating.. 55 


PUY MOrSLeClass a., osc ne fe. 
cpa Fab 6 ea RNAS Saeco Wap Re Oe 72 
MiIXINS and WS6). 20. oss cA! 
DlasterOr Darisveak + oe ee 74 
quick-seltting: 2, Poss. ss 43 
SWOUISN CS. denies wate 73, 264 
WiINdOW .2lasSe2. : of 4s oe 12 

Radiator painting and 

CeCOralim es - ees wis ek 133 
glazing, mottling and 

TORQIT CLIT ica oe ee ceend aren 134 
Relation of walls to fur- 

DISDINSS. fe Mew ieee ate 25 

Removing gloss oil size.. 66 
GlOMCAIIMN ING wane eee ote 66 
ord swall paper .. s. 6s. 65 

Repairs on fabric surfaces.404 

Roman tile finish, ..5..2 298 

Roman travertine wall 

TITVIS gee vote Scie e osc ese Se 293 


Rooms, large, color schemes 41 


light and dark, color 
SCHGMEGGee ee wae 45 
small, color schemes.... 42 
Rough wall textures...... 241 

Sand -float, brushing on 
iT Gane elses ease 201 
color treatment,,,.,....202 


450 INDEX 


PAGE 
ZrOUDdCOAteew ae eee 194 
mixing the rough coat. .198 
tools*used 233.03. eoee 201 
wallit finish ..s4-.. 4.5 <. 193 
wall finish, where to use.193 
Scaffolding, yo. .8 2 oe tees 56 
Scaling “paint: .. eee ee 68 
School, church and bank 
color schemes........ 40 
Scrap-book for color cards. 54 
Seams, lapped ic. 5 2 see 400 
trimmed and butted... .392 
Silk glazed effects........ 190 
Size, SlUGe.'< ccc ye toe oe 81 
oll and glues 247s. 3.1. dees 83 
SUSAT 4 Vevatee Cuete cheats eee 84 
VArniIShesy : eee lowe Sie 82 
Smoothed textures........ 298 
South exposure color 
SCHOMGS-"5.,, <4 ate 45 
Spanish palm finish...... 282 
Spatter coats, the........ 227 
wallfinish. cere cen 219 


wall finish color schemes.228 
wall finish, ground coats.220 


Sponge-stipple, decorative 
effect wanted......... 205 
materials and tools..... 206 

suitable for various sur- 
TACOS: 3. Sor eee ee 206 
wall, finishes". 312s see 205 
rough. COxtires sun ee 310 
Spots, flat and gloss...... 183 

Spray gun decorative fin- 
ISHES 2 eee eee 345 
equipment so. soe aes 35D 
working methods....... 356 
Spray guns, types of...... 354 


Staining rough plaster...141 
Stains and discolorations. 80 
Standard formule stor 


white paint)... 109 
Starch-coating walls...... 108 
Stencil border panels..... 439 

GOLOTS (vis Siegel ce sie 342 
(esipris* sih.en . 2 ee 437 
fill in and wipe out..... 154 
or pounce outline...... 151 


wall finishes, lace...... 331 


PAGE 

wheels: 4 .:0a 055 sae eeeere eee 445 
Stippaleen plastic paint. ..260 
Stipple coat, the. .......5. 212 
Stippling on calcimine....130 
paint .-.'iues wees cee eee 103 
tools: for. Fie e eee 184 
Straining paints and colors 92 
Striping” Aw... ise oe 443 
and stencil wheels...... 445 
Stuc-O-Tint plastic paint.261 
Sugar (Size. 2. an ves 84 


Surfaces, preparation of.. 59 
to decorate, kinds of...145 
Swedish putty /..65 gnc se ee 
formulas: for -.en<. eee 264 


Textone, plastic paint....249 
Textures, brushed and 


smoothed \.... tsa a gases oe 298 
finzer-Trough,. =. nee 310 
sponge-stippled rough...310 

Tinting enamelsyoe. ea 115 
Tools for rough wall fin- 
isheS .ct<.ns sae 267 


“Topping over” calcimine.130 
Trimmed and butted fabric 


S€AMS .)./. area sani 392 
Varnish. sie. 2.6.5 eee 82 
Vernis Martin and metallic 

bronze finishes ....... Zo0 
Vernis Martin finish..... 238 
Wall board joints, filling.. 79 

walls; NOW... 22: setieaess 62 

walls, olds 25nee. Re 63 
Wall brushes, types of.... 94 

fabrics, hanging and 

painting - ee 389 
Wall finish, Holland plas- 

LOLs gree ee Pern ete, 268 

sand-float.. ¢....3 oe 193 
lace stencil. .<taSeeee Sal 
Roman travertine...... 293 
spatter +... .cenewn eee 219 
‘--sponge-stipple: ......... 205 
Wall paints iatieouee 85, 263 


Wall paints, mixing flat.. 89 


INDEX. « 451 


PAGE 

Wall panels, decorative. ..405 

Wall sizing materials..... 81 
Wall’ textures, brushed 

PUTS eet vpesis siete as. 310 

TW RS CPt as ee A gl 241 

JESU ie Oba ee 241 


Wall treatment, artistic... 19 
Walls, concrete and brick. 63 
Snamets LO... 6 ees 88 
finishing coat, flat...... dd 
finishing coat, gloss....111 
finishing coat, ssemi-flat.111 


SREP LOCOMLia Gui ak ae. es 110 
glazing very rough..... 174 
TS WIAs el ts won wuss 3 oe 109 
Wits eset Oe ee 63 
CC SLE laa. ack. «coe « 111 
Bee COR Gia ars wes sc es 110 


PAGE 
SIZOTCORLS. OF apa en ee 110 
starch-coatinve 9... 0... 60% 108 


Washing walls and ceilings 64 

Wheels, striping and sten- 
Cli Re ce ce ce a 445 

White lead paint, mixing. 89 


“White paint, standard for- 


TL OL oe one hare 109 
Wickham palm finish..... 289 
Window glass putty...... 12 
Window shades.......... 51 
Wiping out high lights...142 
Wood trim, colors for.... 46 
Work, where to begin..... 58 
Working methods, spray 

UNM eG ieee ee eo 356 


Zine and lead paint mixing 90 


Complete DeVilbiss 
Spraying Equipment 
for Interior Wall Decoration 


THE small but complete DeVilbiss Spray-painting Outfit 
pictured is designed especially for interior wall decoration 
work of every description; for bronzing radiators, painting 
window screens and blinds; for “colormisting’’ or spatter 
work, blending, stippling, mottling, glazing and stenciling. 
This Outfit is compactly put together for one man operation, 
and can be easily moved about. The air compressor is driven 
by a motor which can be connected to any electric light 
socket. 


Spray-painting interior wall surfaces offers such important 
advantages as (1) many artistic effects impossible to obtain 
in any other way, (2) an improvement in quality of finishing, 
(3) a saving in time and labor. Further particulars will be 
gladly sent. Address— 


The DeVilbiss Mfg. Co. 


290 Phillips Ave. Toledo, Ohio 


DeVilbiss 


Spray painting System peer oe 


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